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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). -
Politicizing Islam: State, Gender, Class, and Piety in France and India
Politicizing Islam: State, gender, class, and piety in France and India By Zehra Fareen Parvez A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Burawoy, Chair Professor Raka Ray Professor Cihan Tuğal Professor Loïc Wacquant Professor Kiren Aziz-Chaudhry Fall 2011 Abstract Politicizing Islam: State, gender, class, and piety in France and India by Zehra Fareen Parvez Doctor of Philosophy in Sociology University of California, Berkeley Professor Michael Burawoy, Chair This dissertation is a comparative ethnographic study of Islamic revival movements in Lyon, France, and Hyderabad, India. It introduces the importance of class and the state in shaping piety and its politicization. The project challenges the common conflation of piety and politics and thus, the tendency to homogenize “political Islam” even in the context of secular states. It shows how there have been convergent forms of piety and specifically gendered practices across the two cities—but divergent Muslim class relations and in turn, forms of politics. I present four types of movements. In Hyderabad, a Muslim middle-class redistributive politics directed at the state is based on patronizing and politicizing the subaltern masses. Paternalistic philanthropy has facilitated community politics in the slums that are building civil societies and Muslim women’s participation. In Lyon, a middle-class recognition politics invites and opposes the state but is estranged from sectarian Muslims in the working-class urban peripheries. Salafist women, especially, have withdrawn into a form of antipolitics, as their religious practices have become further targeted by the state. -
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. -
Rescue Plan for London's Grassroots Music Venues Making Progress
Rescue Plan for London’s Grassroots Music Venues Making progress 2 Support organisations to make a workforce. There is a vast range of greater impact for their staff, our opportunities too, from partnering communities, the next generation on one of our programmes, to and London as a whole. forming a relationship supporting a small charity, or encouraging One of our aims is to help your staff to volunteer and use young people on their path to their skills at one of the 1,200 employment. Volunteering can charities we work with. Indeed, help develop the skills, confidence whatever your CSR objectives, and experiences they need to Team London is here to help. succeed at work. In partnership with the CIPD and Step Up to London, Volunteering, Charities Serve, we are asking businesses and Sponsorship to commit to recognising this when they recruit young people. Copyright So, this is a rallying call to London businessesGreater London to Authority get involved with TeamJanuary London. 2017 It is not just a good Greaterthing to London do. It Authoritywill also benefit both yourCity Hall, present The Queen’s and future Walk More London London SE1 2AA london.gov.uk enquiries 020 7983 4100 minicom 020 7983 4458 Written and researched by The Greater London Authority, Music Venue Trust, Nordicity, Sound Diplomacy With thanks to The London Music Board The Mayor of London’s Night Time Commission Cover Image: Blood Orange at KOKO, Camden ©Carolina Faruolo 3 Contents Introduction from the Mayor 4 Executive summary 6 Definition of a grassroots music venue 8 London’s grassroots music 10 venues in numbers Map of London’s grassroots 13 music venues Putting the Rescue Plan for London’s 19 Grassroots Music Venues into practice Our partners 28 4 Introduction from the Mayor This report is a major step to rebuilding London’s live music scene. -
Rick Laubscher: Forty Years of Giving Back to San Francisco, from KRON to Market Street Railway
Oral History Center University of California The Bancroft Library Berkeley, California Rick Laubscher Rick Laubscher: Forty Years of Giving Back to San Francisco, From KRON to Market Street Railway Interviews conducted by Todd Holmes in 2016 Copyright © 2017 by The Regents of the University of California Since 1954 the Oral History Center of the Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Rick Laubscher dated March 30, 2017 The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Un Análisis De Sociologı́a De La Cultura: Manchester Sound, Factory Records
Un análisis de sociologı́a de la cultura: Manchester sound, Factory Records y Joy Division LIC. CONSTANZA ALICIA ABEILLÉ DOCTORADO EN TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA DE LA UNIVERSIDAD AUTÓNOMA DE BARCELONA Directores: Dr. Enric Sullà y Dr. Antoni Marti Monterde BARCELONA, 2015 Un análisis de sociología de la cultura: Manchester sound, Factory Records y Joy Division Constanza Alicia Abeillé Página 2 Un análisis de sociología de la cultura: Manchester sound, Factory Records y Joy Division Constanza Alicia Abeillé ÍNDICE Índice 3 Agradecimientos 7 Prólogo 9 Consideraciones de estilo y citas 17 EL ESTUDIO DE LA CULTURA POPULAR Y LA MÚSICA 1. Cultura popular y cultura de masas 21 1.1 El debate sobre la cultura popular y la cultura de masas 21 1.2 Theodor Adorno y la música popular 26 1.3 Una nueva clase, una nueva cultura 1.4 La definición de cultura popular de Stuart Hall 32 2. El circuito de la cultura dentro de los Estudios Culturales 43 2.1 El trabajo de los Estudios Culturales 44 2.2 El circuito de la cultura 51 2.2.1 Producción 56 2.2.2 Representación 58 2.2.3 Identidad 60 2.2.4 Consumo 63 2.2.5 Regulación 65 3. Sociología de la cultura aplicada a la música 69 3.1 La sociología de la cultura de Pierre Bourdieu 69 3.2 Conceptos centrales de la teoría de Pierre Bourdieu 71 Página 3 Un análisis de sociología de la cultura: Manchester sound, Factory Records y Joy Division Constanza Alicia Abeillé 3.2.1 Campo 72 3.2.2 El capital cultural 3.2.3 Habitus 73 3.2.4 Illusio 74 3.2.5 Posición, disposición y toma de posición 75 3.3 La sociología de la cultura aplicada a la música 77 3.3.1 Estilo, género y estilos de vida 81 3.3.2 Nuevos planteamientos que complementan la teoría subcultural 87 4. -
The Dynamics of the Interaction Between Music and Society in Recorded Popular Afrikaans Music, 1900 – 2015
The dynamics of the interaction between music and society in recorded popular Afrikaans music, 1900 – 2015. by Schalk Daniël van der Merwe Dissertation presented for the degree of Doctor of Philosophy (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Albert Mauritz Grundlingh Co-supervisor: Prof. Stephanus Muller December 2015 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2015 Copyright © 2015 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Acknowledgements Firstly, I would like to extend my gratitude to my two supervisors, Professors Albert Grundlingh and Stephanus Muller – I cannot think of a more suitable combination of minds for guiding me through the specific challenges of writing on this subject. I am also grateful for the History Department of Stellenbosch University for financial support, and to my colleagues Professors Sandra Swart, Bill Nasson, Wessel Visser, Dr. Anton Ehlers, (soon-to- be Dr.) Chet Fransch, Melvyn Daniels and Leschelle Morkel, and former colleague Dr. Sarah Duff – all of whom contributed in their own ways. Thank you to Mimi Seyffert, Marina Brink and Lynne Fourie at the University of Stellenbosch’s Library Archive for their help and guidance with archival material. Thank you also to Ernéne Verster and Huibre Lombard at the University of the Free State’s Institute for Contemporary History Archives, and to Monica van Deventer at the SABC Information Library for their help and correspondence. -
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. -
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.