DOCSLIB.ORG

Eales, Alison Caroline (2017) Bunting and Blues: a Critical History of Glasgow International Jazz Festival, 1987-2015. Phd Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eales, Alison Caroline (2017) Bunting and Blues: a Critical History of Glasgow International Jazz Festival, 1987-2015. Phd Thesis Eales, Alison Caroline (2017) Bunting and blues: A critical history of Glasgow International Jazz Festival, 1987-2015. PhD thesis. http://theses.gla.ac.uk/8026/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Bunting and Blues: A critical history of Glasgow International Jazz Festival, 1987-2015 Alison Caroline Eales, MLitt MA Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Studies College of Arts University of Glasgow © Alison Caroline Eales, March 2017 Abstract Glasgow International Jazz Festival first took place in 1987 and has run every year since, making it the city's longest-running cultural event. One of the company's stated aims at its inception was to 'establish [Glasgow] as a major European jazz centre' (Williams, 1986b). Through a single, historical case study, the thesis attempts first to ascertain the extent to which this aim has been achieved, and second to determine the enabling and limiting factors acting upon the Festival in its attempts to effect change in its host city. The thesis finds that urban music festivals can, under the right circumstances, contribute to positive and lasting changes to the environment in which they exist. In the case of Glasgow Jazz Festival, this is evident in terms of both the physical infrastructure and educational opportunities which would be unlikely to exist today had the Festival not been their champion. A festival's ability to effect such change, however, can be severely curtailed by fluctuating levels of commitment from local and national authorities. 2 Contents List of Figures ................................................................................................... 5 Acknowledgements ............................................................................................. 6 Author's Declaration ............................................................................................ 7 Abbreviations used in this thesis ............................................................................ 8 Chapter One: Introduction .................................................................................... 9 About the Festival ......................................................................................... 11 The Festival's relationships with Glasgow ............................................................ 15 Orientation and scope of this study .................................................................... 21 Structure of this thesis ................................................................................... 23 Chapter Two: Literature Review .......................................................................... 27 Definitions: Glasgow ....................................................................................... 27 Definitions: Jazz ........................................................................................... 28 Definitions: Festival ....................................................................................... 30 Festival studies ............................................................................................. 31 Research questions ........................................................................................ 41 Chapter Three: Research Methods ........................................................................ 45 Considerations of research ethics and objectivity .................................................. 45 Archive study ............................................................................................... 46 Interviews ................................................................................................... 54 Participant observation at Glasgow Jazz Festival ................................................... 55 Participant observation at other jazz festivals ...................................................... 58 Application of research methods to the research questions ...................................... 59 Chapter Four: The Way Up (1986-1993) ................................................................. 63 Creating a new future for Glasgow ..................................................................... 64 Jazz in Glasgow ............................................................................................ 72 Establishing Glasgow Jazz Festival: who, when and why .......................................... 78 Jazz festivals in the UK ................................................................................... 83 Glasgow Jazz Festival is born ........................................................................... 86 Developments relating to live jazz in Scotland ...................................................... 92 GIJF as part of Glasgow's tourist proposition ........................................................ 100 Programming ............................................................................................... 107 Post-1990 ................................................................................................... 112 GIJF's Merchant City land grab ......................................................................... 119 Conclusion .................................................................................................. 134 Chapter Five: Money Jungle (1994-2001) .............................................................. 137 Live music in Glasgow: changes to festivals, venues and legislation ........................... 137 Financial challenges ...................................................................................... 144 Reducing GIJF's expenditure ........................................................................... 148 Increasing GIJF's income ................................................................................ 154 3 Programming ............................................................................................... 164 A new fight for The Old Fruitmarket ................................................................. 173 Conclusion .................................................................................................. 183 Chapter Six: Change of the Century (2002-2006) ..................................................... 185 Developments in Scotland ............................................................................... 185 Venues ...................................................................................................... 188 The RBS era: taking George Square ................................................................... 191 The post-RBS era .......................................................................................... 199 Visions for GIJF ............................................................................................ 202 Conclusion .................................................................................................. 209 Chapter Seven: The Third Decade (2007-2015) ....................................................... 213 Developments in Glasgow and Edinburgh ............................................................ 213 Further blues .............................................................................................. 216 (International) Jazz Festival ............................................................................ 221 (International) Jazz (etc.) Festival .................................................................... 225 Whens and wheres ........................................................................................ 228 Conclusion .................................................................................................. 231 Chapter Eight: Conclusion .................................................................................. 234 Revisiting the research questions ..................................................................... 234 Places and spaces ......................................................................................... 238 Implications for future research ....................................................................... 241 Appendix A: The Composer-in-Residence initiative .................................................. 243 Appendix B: A diary of live jazz in Glasgow, 2013 .................................................... 246 2013-09-07, Ubiquitous Chip, Ashton Lane (West End) ........................................... 246 2013-10-12, Avant Garde, King Street (Merchant City) ........................................... 247 2013-10-19, Halt Bar, Woodlands Road (West End) ............................................... 248 2013-10-20, Three Judges, Byres Road (West End) ............................................... 249 2013-10-21, St Enoch Centre, Argyle Street (City Centre) ....................................... 249 2013-11-03, The 78, Kelvinhaugh Street (West End) ............................................. 251 2013-11-10,
Load more

Recommended publications
  • Bbc Music Jazz 4
    Available on your digital radio, online and bbc.co.uk/musicjazz THURSDAY 10th NOVEMBER FRIDAY 11th NOVEMBER SATURDAY 12th NOVEMBER SUNDAY 13th NOVEMBER MONDAY 14th NOVEMBER JAZZ NOW LIVE WITH JAZZ AT THE MOVIES WITH 00.00 - SOMERSET BLUES: 00.00 - JAZZ AT THE MOVIES 00.00 - 00.00 - WITH JAMIE CULLUM (PT. 1) SOWETO KINCH CONTINUED JAMIE CULLUM (PT. 2) THE STORY OF ACKER BILK Clarke Peters tells the strory of Acker Bilk, Jamie Cullum explores jazz in films – from Al Soweto Kinch presents Jazz Now Live from Jamie celebrates the work of some of his one of Britain’s finest jazz clarinettists. Jolson to Jean-Luc Godard. Pizza Express Dean Street in London. favourite directors. NEIL ‘N’ DUD – THE OTHER SIDE JAZZ JUNCTIONS: JAZZ JUNCTIONS: 01.00 - 01.00 - ELLA AT THE ROYAL ALBERT HALL 01.00 - 01.00 - OF DUDLEY MOORE JAZZ ON THE RECORD THE BIRTH OF THE SOLO Neil Cowley's tribute to his hero Dudley Ella Fitzgerald, live at the Royal Albert Hall in Guy Barker explores the turning points and Guy Barker looks at the birth of the jazz solo Moore, with material from Jazz FM's 1990 heralding the start of Jazz FM. pivotal events that have shaped jazz. and the legacy of Louis Armstrong. archive. GUY BARKER'S JAZZ COLLECTION: GUY BARKER’S JAZZ COLLECTION: GUY BARKER'S JAZZ COLLECTION: 02.00 - 02.00 - GUY BARKER'S JAZZ COLLECTION: 02.00 - THE OTHER SIDE OF THE POND: 02.00 - TRUMPET MASTERS (PT. 2) JAZZ FESTIVALS (PT. 1) JAZZ ON FILM (PT.
    [Show full text]
  • The Napa Valley Dixieland Jazz Society at Grant Hall
    The Napa Valley Dixieland Jazz Society presents . New Orleans Jazz, on November 10, 2019 1:00 - 4:00 At Grant Hall - Veterans’ Home Yountville, CA . President’s Message The Flying Eagles We are looking forward a dandy afternoon with The Flying Eagles Jazz Band on Sunday, Nov 10. With all the power outages, the hor- ...The Flying Eagles Jazz rific fire and all the upset, it will be good to lift spirits with this lively, Band was formed at the high energy and talented band. Sacramento Trad Jazz Adult Camp in 2010. While this As you know from our last gig, the tavern is open - however, be sure band was the “new kid on to keep in mind that alcohol is not allowed outside the tavern, so the block,” the band plays must be consumed in the tavern. We are working to have it avail- as if they have been to- able during our gigs in Grant Hall, but that is still up in the air. But, it's great to have the bar open and drinks available to all who gether for years! The style want to imbibe. Water will be provided in Grant Hall. runs the gamut of Tradi- tional Jazz styles, from the Original Dixieland Jazz Band to King I am hopeful that food will be available in the cafe/tavern, but don't Oliver, Fats Waller to a more modern-style Dixieland made famous have a definite word yet, so if you want to bring food, you're wel- by Kenny Ball. The band also plays slow blues favorites, up- come to do so - or take the chance the cafe will finally be open.
    [Show full text]
  • This Is Our Music V.2-2
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by BCU Open Access 20/11/2015 16:38:00 This Is Our Music?: Tradition, community and musical identity in contemporary British jazz Mike Fletcher As we reach the middle of the second decade of the twenty-first century we are also drawing close to the centenary of jazz as a distinct genre of music. Of course, attempting to pinpoint an exact date would be a futile endeavour but nevertheless, what is clear is that jazz has evolved at a remarkable rate during its relatively short lifespan. This evolution, which encompassed many stylistic changes and innovations, was aided in no small part by the rapid technological advances of the twentieth century. Thus, what was initially a relatively localised music has been transformed into a truly global art form. Within a few short decades of the birth of the music, records, radio broadcasts and globe-trotting American jazz performers had already spread the music to a listening audience worldwide, and it was not long after this that musicians began to make attempts to ‘adapt jazz to the social circumstances and musical standards with which they were more familiar’.1 In the intervening decades, subsequent generations of indigenous musicians have formed national lineages that run parallel to those in America, and variations in cultural and social conditions have resulted in a diverse range of performance practices, all of which today fall under the broad heading of jazz. As a result, contemporary musicians and scholars alike are faced with increasing considerations of ownership and authenticity, ultimately being compelled to question whether the term jazz is still applicable to forms of music making that have grown so far away from their historical and geographic origins.
    [Show full text]
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Essays in Urban Economics by Chuhang Yin Geissler
    Essays in Urban Economics by Chuhang Yin Geissler Department of Economics Duke University Date: Approved: Christopher Timmins, Advisor Yi (Daniel) Xu Vincent Joseph Hotz Patrick Bayer Arnaud Maurel Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Economics in the Graduate School of Duke University 2020 ABSTRACT Essays in Urban Economics by Chuhang Yin Geissler Department of Economics Duke University Date: Approved: Christopher Timmins, Advisor Yi (Daniel) Xu Vincent Joseph Hotz Patrick Bayer Arnaud Maurel An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Economics in the Graduate School of Duke University 2020 Copyright c 2020 by Chuhang Yin Geissler All rights reserved Abstract Preference heterogeneity is a driving force in the evolution of urban landscape. Combined with historical conditions, it can perpetuate existing inequality through residential sorting. This dissertation contributes to the literature in residential sorting and hedonic valuation to understand how preference heterogeneity affects location decisions and social welfare. In chapter 2, I estimate the hedonic prices of particulate matter and nitrogen oxide using panel data from Glasgow, Scotland under a variety of functional form assumptions. I find that housing prices are the most elastic with respect to PM2:5 and the least elastic with respect to NOx. The hedonic price for all pollutants decreased from 2001 to 2011. At the median pollutant level, housing price elasticity of PM2:5, PM10, and NOx are -0.2 to -0.46, -0.17 to -0.48, and -0.05 to -0.3 respectively.
    [Show full text]
  • Air Artist Agency
    Air Artist Agency, in GERMANY & AUSTRIA MARCH 2011 Air Artist Agency, THE CONCEPT I was welcomed and In March 2011, six of Britain’s most exciting and forward-thinking bands will invited to England in be descending on Germany and Austria to perform 72 gigs over the period of two weeks. 12 clubs in 12 different cities will be running a ‘Brit-Jazz- the friendliest of ways. Week’ and hosting performances from a different one of the bands London is without each night. doubt Europe´s capital Between them, the bands have been recognised by the MOBO and for culture. There are MOJO Awards, Mercury Music Prize and just about every British Jazz a dozen great concerts Award available! They have all toured internationally but this is the to go to every day, all first time any of them will be presented in Germany and Austria in museums are free and such a big way. the local music scene is With influences as diverse as Indian music, Hip-Hop, Rap, Trip-Hop and vibrant, energetic and Rock, the bands involved are ex-Portishead Jazz-Rockers Get The Blessing, imaginative with a great saxophonist Jason Yarde, Indo-Jazz Clarinettist Arun Ghosh, pianist Kit Downes, mixture of artists from The Julian Siegel Quartet and rapper-saxophonist Soweto Kinch. all sorts of backgrounds; We are organising full German/Austrian press coverage for the event and one of a true melting pot of the main aims of the project is to launch each of the bands in this territory and build the foundations for regular touring in Germany and Austria.
    [Show full text]
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • Public Health Information News Issue 1 2011
    Public Health Information Service News Issue 1 2011 Public Health Information Service News Issue 1 2011 CONTENTS Updates and Publications ___________________________________________________ 3 Health Challenge Wales Update _____________________________________________ 13 Welsh Assembly Government Health Website Latest Information____________________ 15 Welsh Assembly Government Current Consultations _____________________________ 16 Public Health News Around Wales ___________________________________________ 18 Web Reports and Publications_______________________________________________ 27 Calls for abstracts, awards and courses _______________________________________ 37 Consumer and patients information ___________________________________________ 40 Conference feedback______________________________________________________ 42 Information and Library Services _____________________________________________ 43 Contact details on this page only to save paper and reduce production costs. Sarah Davies, Senior Library Assistant Health Promotion Library Freepost CF2429 Cardiff CF14 5GZ Telephone: 029 2068 1239 Fax: 029 2068 1381 Minicom: 029 2068 1357 Email: [email protected] Public Health Information News is available in Welsh, large print, on disk and Braille. If you want a copy in any of these formats or languages, or you have any other specific requirements please contact Sarah Davies. It is also available electronically on the web at www.wales.gov.uk/healthpromotionlibrary This issue of the newsletter is published on 31 March 2011 2 Public Health Information Service News Issue 1 2011 Welcome to the first issue of Public Health News, published in time for spring and hopefully some spring sunshine. We are continuing with our usual Remember, no item is too small to columns in the news, and based on include, and if you have any the positive responses we have queries about copy simply contact had to our ‘web events’ pages we the editor Sue Thomas at: will only make this information [email protected] available there from now on.
    [Show full text]
  • BBC Music Booklet Celebrating 80 Years of Music.Pdf
    Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music.
    [Show full text]
  • The Jazz Rag
    THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days.
    [Show full text]
  • Economic Perspective 2
    Economic Perspective 2 THE GLASGOW GARDEN FESTIVAL: MAKING GLASGOW MILES BETTER? John Heeley and Mike Pearlman Scottish Hotel School, University of Strathlcyde INTRODUCTION and/or existing parkland is refurbished in order to mount major exhibitions of plants. The The Glasgow Garden Festival (GGF) opened its gates festival's duration is normally six months in to the general public on April 28, 1988 and order to allow the changing seasons to be mirrored represented a crucial step in Glasgow's in floral displays. The exhibitions are then development as a tourism destination. The removed, leaving the upgraded land for future Festival, alongside Glasgow's designation as the development. European City of Culture in 1990 can be seen as the basis of a strong events-led tourism Despite the widespread popularity of gardening in development strategy. The sponsors and organisers Britain, it is only recently that serious of the Festival had set a target of 3 million attention has been paid to the garden festival visitors through the gates by the time the concept in the UK. There are some historical Festival closed on September 26, 1988. In fact, pointers in that Britain did pioneer trade the Festival has achieved a throughput of 4.25 exhibitions, beginning with the Great Exhibition million people. of 1851 at Crystal Palace which attracted over 6 million visitors. The Festival of Britain held in The GFF is essentially a tool for urban London in 1951 commemorated the 100th anniversary regeneration and the site's after-use will be of the Great Exhibiton and had a major leisure closely monitored given the difficulties faced by component (situated in Battersea park) including previous festival sites at Stoke and Liverpool in a giant rubber Octopus.
    [Show full text]
  • PRESERVATION JAZZ SOCIETY a Short History
    PRESERVATION JAZZ SOCIETY ---1989 to Present The Preservation Jazz Society or PJS for short was founded by Brecon Jazz Festival favourites the Adamant New Orleans Marching Band and about a dozen of their friends in 1989. The object to promote Traditional New Orleans Jazz music in a six piece band ensemble in a club atmosphere. Starting at the Bottleneck Bar at the Philharmonic Pub in Cardiff with little money and after a quiet start we built up a solid audience with live traditional jazz bands each Tuesday evening. Journalist and Novelist Eric Reynolds was given the job of publicity and booking bands up to three months in advance to create a programme structure that be could be publicised well before the gigs took place . We started a newsletter ‘The Footappers News’ that’s still published today. One of the revenue raising problems at the time was that we could not charge an entrance fee to the music room at the pub, the only income available was raffle tickets plus a donation from the Pub. Thanks to Dai Richards, a Cardiff City Council Counsellor at the time with a brief for promoting the Arts and an Artist himself, the PJS were given a helpful grant each year for as long a Dia had a say in things or at least until the Council changed-which it did after several years. None the less without Dia’s help things would been a difficult. The grant put the society on a sound financial footing and enabled a great range of bands from further afield to play at our gigs.
    [Show full text]