Rescue Plan for London's Grassroots Music Venues Making Progress
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Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
Saint Motel Debut Uk Single ‘My Type’ Is out Now
SAINT MOTEL DEBUT UK SINGLE ‘MY TYPE’ IS OUT NOW Playlists include A list at Radio 2, B list at Radio 1 and XFM’s Daytime list WATCH ON YOUTUBE https://www.youtube.com/watch?v=IyVPyKrx0Xo “Each of their songs announces itself with a flourish and no little élan, and there's a light sprinkling of Caribbean rhythms, tropical flavours and lounge-jazziness throughout.” – The Guardian “Jackson and his cohorts inject Caribbean lilts, stomping beats and lounge-jazz licks into giddy power-pop.” – The Washington Post Already a growing proposition in the States where they’ve played shows with the likes of Arctic Monkeys and Imagine Dragons, the Los Angeles quartet SAINT MOTEL are making a strong impression with their debut Parlophone track and first Top 40 single ‘My Type’. A record Track of the Day at Radio 1 and Record of the Week at Radio 2, it’s also been playlisted at Radio 2 (A list), Radio 1 (B list), XFM (Daytime list) and Absolute (B list). ‘My Type’ is an exuberant collision of gorgeous tropical horns and percussion, suave indie style and frontman A/J Jackson’s velveteen croon. Recalling the glam flair of the Seventies with elements of retro power-pop, SAINT MOTEL also possess a tongue-in- cheek twist on cynicism and irony that reflects their status as a Los Angeles band influenced by British culture. The single is the first new song that SAINT MOTEL have issued ahead of their upcoming EP which will be their first full UK release. Having recently introduced themselves to British audiences with London show at Club NME and The Lexington, they’ll return to these shows in November for a full tour: November 2nd – Brighton, The Haunt 5th – London, The 100 Club 6th – Sheffield, The Plug 8th – Bristol, The Lanes 13th – Manchester, The Ruby Lounge 14th – Leeds, Brudenell Social Club 15th – Newcastle, Think Tank 16th – Edinburgh, Electric Circus SAINT MOTEL’S debut album ‘Voyeur’ demonstrated a band that contrasts immediate, hook-fuelled pop melodies with leftfield subject matter. -
Nightvision Town Centres for All
The Civic Trust NightVision Town Centres for All NIGHTVISION TOWN CENTRES FOR ALL Supported by The Department for Communities and Local Government, The BCSC Educational Trust, Land Securities, the Institute of Alcohol Studies, St George and Grosvenor October 2006 The Civic Trust NightVision Town Centres for All CONTENTS Page Foreword: Baroness Andrews OBE Parliamentary Under-Secretary of State The Department for Communities and Local Government 1 Civic Trust Foreword and Acknowledgements Beyond just coping 3 The Civic Trust and 5pm to 9am 3 The Programme of Research 4 The Civic Trust and NightVision 4 Executive Summary 5 1. Town Centres for All 1.1 Positive and negative visions 8 1.2 How the dream turned sour: eight stages 9 One: out of hours and out of luck! 9 Two: the 24 hour city 9 Three: planning for growth 9 Four: the “urban renaissance” 9 Five: loosening the ties 9 Six: the storm clouds gather 2000-2005 10 Seven: the 2003 Licensing Act 10 Eight: a new realism? 10 1.3 How big? 11 1.4 Counting the cost 11 1.5 How can diversity help? 11 1.6 In ten years’ time? 13 2. The 5 to 9 Centre Today 2.1 Snapshots of urban nightlife 14 Manchester: something for everyone? 14 Shoreditch, London: fashionable and edgy 15 The Mailbox, Birmingham: upmarket and aspirational 15 Xscape, Milton Keynes: a mega family attraction 15 Reading: hi-tech and highballs 16 Blackpool: reinventing the seaside “party town” 17 2.2 What town centres offer today: local authority survey 17 2.2.1 What’s open and what’s not 18 2.2.2 What still works after hours 20 2.2.3 Concern -
Atom Smashers
Atom Smashers This is a pretty old track - probably made around 2011 or so. To be honest I am a little ashamed about the fact that half the tracks on this album have been around for absolutely ages. Many have been sat on Soundcloud, there for all the world to hear. This feels like I’m short changing the people who buy the album somehow. But my thinking was this: if you’ve been working on tracks for ten years and you want to make a new album, then why not simply select the best ones that fit together with some kind of unifying concept? Why not just try making the best album you possibly can from the material available? So that’s what I did. I’m sincerely hoping that the next album will be 100% new and shiny. In fact I culled one killer new track off this one because I felt it would better suit the concept for the next one, which is already in progress as we speak. Anyway, enough of such distractions, what about atoms? Musical Energy: Repetition is a Microscope The ability to play with time is the most compelling thing about music, and especially electronic music, for me. Taking many days to construct a few minutes of auditory experience is a strange and wonderful process. Ever since I discovered as a child the ability to record audio on a tape machine, I’ve been fascinated by it. Even things that are nowadays trivial, such as recording something and playing it backwards, is still captivating to me. -
Kapena Concert Music by Kapena Bounced Off the Walls of the Building Surrounding the Campus Mall in KCC's Outdoor Concert on November 4
The Student Journal of Kapi 'olani Community College http://www.kcc.hawaii.edu/news/kapio Vol. 34 No. 10 November 14,2000 ------------------------------------------------------------ Inside Kapena Concert Music by Kapena bounced off the walls of the building surrounding the campus mall in KCC's outdoor concert on November 4. The concert began at 6 p.m. The stage was built with the performers' backs to the stained glass wall of the cafeteria. Faculty and students alike came out and enjoyed themselves, a few could be seen dancing near the Speak Out! page 2 stage. In the middle of the concert, rain began to pour so the concert was moved into the cafeteria where the entertainment continued. Kapena was also joined by the musical talents of with music by Picante (Hispanic salsa music) and Reign (contemporary acapella). The series of music concerts con tinued on Monday, Nov. 6, with the UH Manoa Chamber Music Ensem Kapena played popular contemporary Hawaiian music on Saturday night at the free concert on the KCC campus. ble and the UH Jazz band. -Photo by Joe Tomita. Island Flavors, page 3 Trolley Open for Service C~lebration of ,_ -- the Arts Inspires Evening Audience New ramps on campus, page 4 (Above) The trolley and and its driver taking off on the new route. -Photo by Joe Tomita. · Joe Tomita person who is a cultural specialist Photo Editor or historian who will present all the information on a guided tour. The Trolley Project will provide Interpret Hawaii was called on direct convenient transportation again in service to the community. -
25 Years of the London Jazz Festival
MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, Birmingham, Cheltenham, 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Europe Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster. -
Paul Weller – Porcelain God
Paul Weller – Porcelain God 2.7 1977 The Jam sign to Polydor Records for an advance of £6000 and this was announced in the press 10 days Tuesday 11th January 1977 later. Evening Concert – The 100 Club, London The Jam support Alan Clayson’s Argonauts and Saturday 19th February 1977 Stripjack. Evening Concert – The Hunt Hotel, Leighton Buzzard Saturday 22nd January 1977 Thursday 24th February 1977 Evening Concert – The Marquee, London (Attendance Evening Concert – The Roxy, London approximately 500) The Jam were supported by The Rejects and Wire. The Jam support Bearded Lady. This gig was attended by Chris Parry from Polydor who consequently asked Friday 25th February 1977 the band to record demos for the label. At the time the Polydor announce the signing of the Jam, for a one band had already received a contract offer from London single and one album deal. The sign on fee was based Chiswick Records but the advance of £500 for a £6000.00. one single deal was small and the band held out for a Evening Concert – The Fulham Greyhound, London better offer. Paul Weller burns a copy of “Sniffing Glue” at this gig Saturday 26th February 1977 as he was annoyed at comments made in the fanzine Evening Concert – The Hunt Hotel, Leighton Buzzard about the band taking too long to tune their instruments. On the same day the NME published a positive live March 1977 review of the Jam by John Tobler. The “In The City” Album Sessions, commence at Polydor Studios, London with Vic Smith and Chris Parry Tuesday 25th January 1977 and last 11 days in total. -
The 100 Club Venue Spec
VENUE ONE SHEET HISTORY // FUTURE HISTORY! FUTURE! ! ! London’s iconic 100 Club has been trading under the same Despite its historic reputation the venue still continues to name since 1964 and from 1942 as the Feldman Jazz Club showcase some of the most exciting new music in London before then, earning it the title of the oldest independent with recent shows from artists such as Blood Orange, The venue world wide.! Fat White Family, Dean Blunt, Parquet Courts, Kindness, ! Joey Bada$$ and A$AP Ferg across it’s programming of regular events and hosting of NME Awards Shows, Converse Through out the decades the venue has championed all Gigs and other series. ! manors of ground breaking scenes including the blues of Muddy Waters and BB King as well as mod stylings of The ! Who and The Kinks in the 60s; the birth of punk with the Sex The 100 Club is pleased to announce the appointment of ! Pistols, The Clash and Siouxsie & The Banshees plus Paul Lilley in the new role of full time Venue Booker / In- regular reggae sessions from Eddie Grant and The Mighty house Promoter for the club. Paul joins the 100 Club with Diamonds in the 70s; the first ever Northern Soul All Nighter over 6 years experience in programming music for some of in the 80s; the indie explosion with early shows from Oasis London’s most exciting independent venues including the and Suede in the 90s as well as key shows for artists such as Shacklewell Arms, The Old Blue Last and The Waiting The Horrors, Gallows and Kings Of Leon in the 00s. -
How to Run a Grassroots Music Venue
INTRODUCTION Music Venue Trust is a UK charity created in 2014 to protect, secure and improve the nation’s Grassroots Music Venues (GMVs). We work with and for the small independent venues which nurture new talent and connect audiences with live music experiences, building communities around music in towns and cities across England, Scotland, Wales and Northern Ireland. How this book works This book is one of a pair – How to Open a Grassroots Music Venue and How to Run a Grassroots Music Venue. The chapters contain some common information but are written for the reader depending on whether they are embarking on creating a GMV or reviewing the venue they already run. The guides are intended to be practical and straightforward, while linking to supporting materials both in the Guidance section at the back of the book and to online Resources on the Music Venue Trust website. Throughout the book a key tells you when information is Vital , when to cross reference with the Guidance and when to refer to online Resources : www.musicvenuetrust.com We urge you to read through the good practice Guidance which has been created by experts. Even if you are not able to do everything, it tells you what you should be aiming for. As the book states several times, running a successful venue is underpinned by doing what you need to do, setting the scene for you to develop the venue you want to create. 1 For inspiration, the practical guide is interspersed with interviews with some of the people who own and run existing GMVs. -
Hamsard 2786 Ltd / Academy Music Holdings Ltd Inquiry: Final Report
Hamsard and Academy Music A report on the proposed acquisition of a controlling interest in Academy Music Holdings Limited by Hamsard 2786 Limited 23 January 2007 © Competition Commission 2007 Website: www.competition-commission.org.uk Members of the Competition Commission who conducted this inquiry Diana Guy (Chairman of the Group) Christopher Goodall Professor David Parker Anthony Stern Chief Executive and Secretary of the Competition Commission Martin Stanley The Competition Commission has excluded from this report information which the inquiry group considers should be excluded having regard to the three considerations set out in section 244 of the Enterprise Act 2002 (specified information: considerations relevant to disclosure). The omissions are indicated by []. Proposed acquisition of a controlling interest in Academy Music Holdings Limited by Hamsard 2786 Limited Summary................................................................................................................................ 5 The reference.......................................................................................................................... 5 The parties and the transaction .............................................................................................. 5 The relevant markets .............................................................................................................. 6 Venues................................................................................................................................... -
Lindy Hoppers Sweep the Jive Joint
Lindy Hoppers Sweep the Jive Joint couples on the floor at one time, Capital Gold "Open" then eight couples went through Jive .Championship to the final. The music for the Winners competition was '50s rock 'n roll, and the cramped conditions First just enhanced the atmosphere, Warren Heyes & Maxine Green with many different styles Second visibJ, from flying Lindy Hop to i Ron Lesley & Sing Lim Rock 'n Roll to Ballroom Jive. , Third If prizes were a warded on i Michael Grimshaw & enthusiasm, the judges could , Margaret Kirkaldy never have made a decision. ' Greatest Sense of Fun What judges were asked to look Brigid Kirst & Tim Flach for was timing and rhythm, body The Judges coordination, styling, variety and originality, musical Freddie Haugan, Dance Institute The winners, Maxine Green and Warren Heyes, and their Jiving Lindy Hop. Photo sent in by Simon Selmon. interpretation, lead and follow, Director, Norway teamwork, showmanship, and Amelia Hill, '88 Rock 'n Roll costume. Champ,UK "It was heaving", said Hoppers week, on Monday night hosting fi A special prize was given to Randall Lee Rose, Capital Gold DJ, who were at the rst Capital Srompin' run by the London USA the couple who showed the most Gold "Open" Jive Competition, Swing Dance Society. This Stuart Colerhan, Capital Gold DJ, enthusiasm and greatest sense I on 15 November ar rhe 100 Club pat1icular Monday, streamers UK of fun. This couple could be in London. More to the point, and balloons hung in their chosen by the judges from any Lindy ffoppers dominated the hundreds from the ceiling and of the heats, so couples who dance floor and took the top two rose from the streamer-covered Louise Thwaite didn't make the final also had a Inside prizes! of the tables. -
THE CULTURAL VALUE of LIVE MUSIC from the PUB to the STADIUM: GETTING BEYOND the NUMBERS by Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan
THE CULTURAL VALUE OF LIVE MUSIC FROM THE PUB TO THE STADIUM: GETTING BEYOND THE NUMBERS By Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan Research by The University of Edinburgh and The University of Glasgow Part of the Arts & Humanities Research Council’s Cultural Value Project The Cultural Value of Live Music from the Pub to the Stadium Acknowledgements Key Findings The authors are grateful to the Arts • The weakest point of the live music ecology at present is and Humanities Research Council’s the small to medium independent venues. Cultural Value project team for providing the funding which made • Policymakers need to pay more heed to the economic this research possible. We would and cultural contribution of smaller venues. Local regimes also like to thank UK Music, the often focus their attention on major developments whose Musicians’ Union and PRS for Music for their assistance and co-operation key beneficiaries are larger businesses. in carrying out the work. • Greater harmonisation of regulatory regimes and their We extend thanks to all the members implementation across the UK will benefit independent of the advisory board for their ideas and assistance and, particularly, all of the and major operators alike. people who took time out from their busy • The need for a more ‘joined up’ approach across council schedules to be interviewed. The qualitative nature of this research means that we services is widely acknowledged but not always fully needed the perspectives of a multitude of implemented. different stakeholders in British live music and their willingness to speak to us was • Competition between cities drives investment in invaluable to this project.