Annual Report 2016/2017

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2016/2017 TRINITY COMMUNITY ARTS ANNUAL REPORT 2016/2017 Registered Charity no.1144770 Limited Company no.4372577 1 ANNUAL REPORT 2016/2017 CONTENTS ARTS WELCOME FROM OUR CHAIR .........................................3 KEY ACHIEVEMENTS 2016/2017 .....................................5 7 MEMORABLE MOMENTS ................................................6 ARTS Arts West Side .....................................................................8 IGNiTE Programme ...........................................................10 Beyond IGNiTE .................................................................12 COMMUNITY Music ................................................................................13 COMMUNITY Trinity Community Initiative ..............................................16 Trinity Community Garden ................................................17 Venue Hire .........................................................................19 15 Trinity’s Partnerships ..........................................................21 EDUCATION Youth Music Programme ...................................................23 HERITAGE Trinity Centre Conservation Project ...................................27 - Community Consultation ................................................28 - Activities Programme ......................................................29 EDUCATION HERITAGE - Capital Repairs ................................................................30 - Project Status ..................................................................31 22 26 FINANCE Finance Summary ..............................................................33 Fundraising ........................................................................34 Business Development ......................................................35 Organisational Development ............................................36 TEAM TRINITY Dr Edson Burton, Heritage & Engagement Coordinator .... 37 FINANCE 2016/2017 PARTNERS, FUNDERS & SUPPORTERS .............................................38 32 Registered Charity no.1144770 Limited Company no.4372577 2 WELCOME FROM OUR CHAIR WELCOME FROM OUR CHAIR I am delighted to introduce our 2016/2017 Annual Report. Trinity’s use is as vibrant as ever with the new IGNiTE programme in place and 46% increase in participants taking part in regular community activity, compared with this time last year. We must acknowledge all those works to help us raise vital funds, so who have believed in us and offered that we can carry out essential repair- their support toward our various works over the coming year. charitable programmes, as well as all the artists who have shown We are also thankful, as ever, for the us how much they value Trinity, continued advocacy about the value enabling us to continue our musical, of our work, to our long-standing community and creative legacy for Patron, Miriam Margolyes OBE. future generations. Trinity has seen its financial position We would like to start by thanking all improved with a year-end profit the artists and groups who have taken putting us in a good place, from part so far, in our Arts Council funded which we can work toward building IGNiTE programme - helping us to prudent reserve, in fulfilment of our create an inspiring artistic programme charitable objectives. This has been that is reflective of the communities aided by the continued support of who use Trinity as part of their professional advisers throughout everyday lives. the year, including Derek Griffin, who continues to give his time and We are deeply grateful to the professional skills to help the Board family & friends of DJ Derek, whose improve their systems of governance; generosity toward our youth music as well as Bond Dickinson LLP, who Programme through the memorial have assisted us with countless legal fund “Sweet Memory Sounds” and company secretary tasks. has proved crucial in sustaining our services Youth Music Training This year we said goodbye to Trustee Programme, at a time when support Mike Ashley of our trading subsidiary, for this type of youth delivery is and charity Trustee Jon James. We so limited. Without their help in would like to thank both for their our time of need, we simply would time and commitment in helping us not have been able to continue to to achieve so many things for arts provide an inclusive music offer for and communities over the years. “We have a great some of the most troubled young We would like to also welcome new opportunity with a people and we are forever grateful Trustees Tom Marshman and Hannah diverse board and keen for their support. Fowler, who joined us at the last trustee volunteers to AGM to take forward our vision to help steer Trinity forward Special thanks got to visual artists become one of the country’s leading in the coming year.” Andy Council, Stewy, Jimmy Cauty participatory arts spaces. & L-13 Light Industrial Workshop, as LAURA WILLIAMS, well as musicians John Parish and NEW TRUSTEE Adrian Ultey who produced original Registered Charity no.1144770 Limited Company no.4372577 3 WELCOME FROM OUR CHAIR Laura Malarkey, was also co-opted as And last but not least, thanks go a Trustee and told us how proud she out to all 55 volunteers who helped was of the diversification of the board throughout the year, supporting with to include more women and how 4,275 hrs of their time: advising and much she has already learned about helping us with admin, reception and the different areas of Trinity - from marketing tasks, supporting with the financial reporting to our relationships delivery of arts, heritage, community with local partners i.e. Up Our Street. and education projects. Special thanks to volunteer photographers This year we welcomed 17 new Khali Ackford, Jessica Bartolini and Trinity Members: individual Susan Page, who have worked hard performers, theatre groups and across the year to capture some of the community organisations, including magical moments that help to show Tribe of Doris, Untold Theatre and the rich cultural-tapestry of Trinity’s Rise Youth Dance. Our Members’ day-to-day use. input is invaluable in helping us to ensure we remain relevant and Sadly, this year will be my last year as representative of those who call Chair of Trustees; as I step down, I am Trinity their home. proud to leave the charity in a strong place and hope that the Board and The Trinity Team continues to amaze, Team are able to continue this legacy. with our long-term, dedicated staff members joined by new Centre SIMON BATES Admin, Alison Wright, helping us to Chair of Trustees develop our private-hire offer to meet the needs of all the different people who want Trinity to be part of making their special memories. Thanks to all, for helping to make Trinity the special place that it is, who continue to believe in our ethos and work hard to realise our aims and ambitions. “Trinity’s place in Bristol is stronger than ever. Its reputation as an accessible, open minded, unique and caring community arts organisation is now as strong as its reputation as a spectacular and meaningful building and venue.” HANNAH FOWLER, TRUSTEE SIR SPYRO, SURESKANK SEPTEMBER 2016 Registered Charity no.1144770 Limited Company no.4372577 4 KEY ACHIEVEMENTS 2016/2017 KEY ACHIEVEMENTS 2016/2017 Throughout 2016/2017, the Trinity Centre was used by 56,419 people across 469 activities, projects and events, live-music, performances and community events. Of which: 21,573 101 people took part in community and community projects and activities were regular activities across 990 sessions supported with with 3,987 hrs of free - an 18% increase on number of or subsidised hall space under our community activities from last year Trinity Community Initiative (TCI) 28,041 202 people attended 71 music events, young people took part in our incl performances from Resonators, Youth Music Programme, across 181 Frightened Rabbit, Hollie Cook and sessions, with partners incl Bristol the ever popular Bump Roller Discos Plays Music, Teenage Cancer Trust, and Teachings In Dub nights Princes Trust and Tact Foster Care 473 4,675 participants of all ages got involved in weekly people came along to Trinity’s free annual activities, delivered by 19 partner groups, incl Garden Party and Fireworks events Awaz Utaoh, Bristol Samba, Gentle Dance, Hype Dance, Ilu Axe and Wellbeing Arts 2,129 people took part in 51 events and activities “I enjoyed my time at Trinity. It helped at our satellite venue, Arts West Side, me a lot in both administration through our new partnership with Artspace work and events coordinating, like Lifespace (SPACE). With a public campaign, Bristol Open Doors Day and weddings. we managed to safeguard the space Furthermore, you shared your life until March 2018 for community use experiences and interesting stories in films, arts, history and music with me, which was quite unforgettable. 627 Thanks again for providing this people of all abilities and ages took part volunteer opportunity which is one of across 6 Community Garden projects, over my best memories in Bristol.” 211 sessions, including Stay & Play, Mental KELLY (LIUQING) ZHANG, VOLUNTEER Health Days, Weekly and Monthly drop-ins Registered Charity no.1144770 Limited Company no.4372577 5 MEMORABLE MOMENTS MEMORABLE MOMENTS Peaches, performing live in November 2016, with her array of eye-opening costumes and suggestive décor providing a packed audience with a night that will not be forgotten. Chosen by Jimmy Cauty to host his ADP Riot Tour. A model-village of over 3,000 miniature figures contained
Recommended publications
  • [email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
    email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 122 September Oxford’s Music Magazine 2005 SupergrassSupergrassSupergrass on a road less travelled plus 4-Page Truck Festival Review - inside NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] THE YOUNG KNIVES won You Now’, ‘Water and Wine’ and themselves a coveted slot at V ‘Gravity Flow’. In addition, the CD Festival last month after being comes with a bonus DVD which picked by Channel 4 and Virgin features a documentary following Mobile from over 1,000 new bands Mark over the past two years as he to open the festival on the Channel recorded the album, plus alternative 4 stage, alongside The Chemical versions of some tracks. Brothers, Doves, Kaiser Chiefs and The Magic Numbers. Their set was THE DOWNLOAD appears to have then broadcast by Channel 4. been given an indefinite extended Meanwhile, the band are currently in run by the BBC. The local music the studio with producer Andy Gill, show, which is broadcast on BBC recording their new single, ‘The Radio Oxford 95.2fm every Saturday THE MAGIC NUMBERS return to Oxford in November, leading an Decision’, due for release on from 6-7pm, has had a rolling impressive list of big name acts coming to town in the next few months. Transgressive in November. The monthly extension running through After their triumphant Truck Festival headline set last month, The Magic th Knives have also signed a publishing the summer, and with the positive Numbers (pictured) play at Brookes University on Tuesday 11 October.
    [Show full text]
  • Mike Hadreas Is Perfume Genius
    ARTISTʼS PROFILE Mike Hadreas Is Perfume Genius COLIN CARMAN MH: Thanks. I remember buying Liz mood in mind for how things should look. Phair’s Whip-Smart with my babysitting For “Grid,” I had this idea of pulsating O FAMILY is safe when I money. Then I went back and bought her dancers around me. It ends up being more a sashay,” sings Mike Hadreas, [1993 debut] Exile in Guyville. collaboration with the director. With both of “Notherwise known as “Perfume those videos, everybody’s crazy ideas are Genius,” on “Queen,” the haunting first CC: What was the first openly gay song jumbled into a dream sequence. That’s how single on the new album Too Bright. The that you wrote? Has your sexuality always I like it. video for “Queen” is the deranged been part of your songwriting? lovechild of Fellini and Waters, a bizarre MH: When I first started writing, it was just CC: What about the song “I’m a Mother,” escapade in which the 32-year-old Hadreas writing for me. There were gay themes be- which sounds to me like the most gothic cruises an Elvis impersonator with a pros- cause I’m a gay person. So it wasn’t a delib- song on Too Bright? Where did that come thetic leg only to jump off a rooftop. De- erate statement, at first. With the new from? pending on your interpretation, Hadreas album, I knew more people were going to MH: My boyfriend and I have been to- either dies or metamorphoses into a cheer- hear it, so it was important to me to be spe- gether for five years and I want a house.
    [Show full text]
  • Orchestra in a Field
    ORCHESTRA IN A FIELD Date 2012 Region South West Artform Music Audience numbers 3,461 Annabel Jackson Associates Ltd role We evaluated Orchestra in a Field Methodology Online audience survey Background Orchestra in a Field was a two-day classical music festival at Glastonbury Abbey in Somerset developed and hosted by British conductor, Charles Hazlewood. The festival was piloted in 2009 and then held on 30th June and 1st July 2012. Description The festival was a joyful mix of classical and contemporary music, talks and live performances, camping and children's entertainment. Performers included Adrian Utley (Portishead) and Will Gregory (Goldfrapp) the Scrapheap Orchestra, the British Paraorchestra, Prof Green and Labrinth, with a fully staged performance of Carmen by a cast of professionals and local choirs. There were 2,636 adults audience members and 825 children (who were free), plus 160 professional artists and 780 other performers. Audience views There was a good balance between people attending as part of a family group, with friends, in a couple, and some on their own. Audience members were attracted by the mix of music, the link to Charles Hazlewood, the insight into performance from live rehearsals, the reasonable cost, the informality and the novelty. Flying Seagulls parade, Oil Photograph by Shoshana More than 80% of 160 respondents said that Orchestra in a Field was probably or definitely memorable, welcoming, enjoyable, relevant to them and inspiring. 94% of respondents said that Orchestra in a Field was special/different ________________________________________________________________________ ©Annabel Jackson Associates Ltd October 2012 from other music events. All of the respondents said it was a good idea to have a festival to bring classical music to more people.
    [Show full text]
  • Mark Linkous Sparkles: the Life (And Short Death) of a Legend | the Hook - Charlottes
    Mark Linkous sparkles: The life (and short death) of a legend | The Hook - Charlottes ... Page 1 of 3 Mark Linkous sparkles: The life (and short death) of a legend By James Graham | [email protected] Published online 9:00am Thursday Feb 28th, 2002 and in print issue #0104 dated Thursday Feb 28th, 2002 Mark Linkous is somewhere in the darkened recording booth, but the only thing I can see in the blackness is my own shadow, cast by the light streaming in the entrance. “Could you shut the door?” Linkous pleads in a gravelly tone immediately recognizable from his albums. Acoustic foam must be hard to clean, as there’s a distinct dusty smell— although our whispers are sonically perfect. “I’ve been getting these awful migraines,” he continues, not so much in apology as from desperation. “I hope it goes away.” Essential Sparklehorse listening Vivadixiesubmarinetransmissionpl “By the way, can you get me my Levi’s jacket? It’s hanging up in the ot studio.” Released on Capitol Records, Maybe it’s the atmosphere. Maybe it’s the knowledge that the man 26 September 1995. I’m talking to has been (but is, of course, no longer) legally dead. One way or the other, Mark Linkous is creeping me out. This is the most erratic and least Photo by Jen Fariello focused of Linkous’ albums, but * * * * * that’s half the fun. There’s a little something for every mood, This is the story of a band called Sparklehorse and the remarkable man who fronts it, a tale as bipolar as the although it can take a bit of music it spawned.
    [Show full text]
  • Billy Drummond U
    Ravi Coltrane I EXCLUSIVE Marian McPartland Book Excerpt DOWNBEAT JACK DEJOHNETTE JACK // RAVI RAVI C OLT R ANE // Jack MA R IAN MCPA IAN DeJohnette’s R TLAN D BIG SOUND // JOEL JOEL Joel Harrison H A rr Endless Guitar ISON // BILLY D BILLY Drum School » Billy Drummond R U mm BLINDFOLD TEST ON D » Bill Stewart TRANSCRIPTION » Tommy Igoe MASTER CLASS » Dan Weiss PRO SESSION NOVEMBER 2012 U.K. £3.50 NOVE M B E R 2012 DOWNBEAT.COM NOVEMBER 2012 VOLUME 79 – NuMBER 11 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • The Passion of Joan of Arc with Adrian Utley, Will Gregory and Charles Hazlewood Supported by Hauser & Wirth Somerset
    HAUSER & WIRTH Press Release The Passion of Joan of Arc With Adrian Utley, Will Gregory and Charles Hazlewood Supported by Hauser & Wirth Somerset Wells Cathedral, Somerset, England Friday 7 October 2016, 8 pm Hauser & Wirth Somerset, in collaboration with Adrian Utley (Portishead), Will Gregory (Goldfrapp) and award- winning conductor Charles Hazlewood, presents a special live orchestral performance and film screening in the magnificent medieval setting of Wells Cathedral. Adrian Utley and Will Gregory have devised a new score sound-tracking the dramatic and moving narrative of Danish film director Carl Theodor Dreyer’s ‘The Passion of Joan of Arc’ (1928), which chronicles Joan of Arc’s trial and execution during her captivity in France. Initially commissioned by the Colston Hall and supported by The Watershed, Bristol, the inventive new score will be performed live alongside a screening of the film, led by Charles Hazlewood with members of the Monteverdi Choir, percussion, horns, harp and synthesizers. Wells Cathedral is located at the heart of England’s smallest city, Wells in Somerset, situated 13 miles from Hauser & Wirth Somerset. Cited as one of the earliest English cathedrals to be constructed in Gothic style, the building is a treasured and significant architectural landmark in the south west of England. The distinguished setting will provide a unique opportunity to witness Hazlewood, Utley and Gregory’s breathtaking and inspired production. Located on the outskirts of Bruton, Hauser & Wirth Somerset is an innovative world-class gallery and arts centre that works in partnership with many local institutions, businesses and organisations to foster local creative talent and champion charities related to art, community, conservation and education.
    [Show full text]
  • Activity & Achievements
    Activity & Achievements Introduction ‘Watershed is one of the most culturally upbeat and lively venues in the UK.’ Mark Kermode, Journalist /Film Critic Watershed opened on 7th June 1982 in the first floor of two refurbished Grade II listed dockside sheds on Bristol’s historic harbourside - the same year saw the launch of Channel 4, the Commodore 64 and Sony’s first CD player. Watershed opened as Britain’s first Media Centre, championing independent media creativity and emergent art forms. It has held to the founding principles of open access, cultural diversity and innovation, forging an international reputation for developing audiences, ideas and talent. Stormy Shed. ‘ Watershed has been a beacon for film and the arts more generally. It has been Photography by Toby Farrow consistently ahead of the pack in the way it meets the needs of audiences and has delivered real benefit not just to Bristol and the South West but to the UK’s creative economy as a whole.’ Lord Puttnam of Queensgate, CBE Since 1999, the original focus on film and photography has developed to embrace cultural and technical change enabled by digital technologies. Working with Bristol based companies and individuals from the local creative cluster, and researchers from University of Bristol Computer Science and University of the West of England Arts & Creative Industries, Watershed has become a pioneer in producing digital creativity collaborations crossing cultural, commercial and academic sectors. ‘ Watershed is a prime example of a highly connected, flexible, porous piece of cultural and creative infrastructure. Watershed is more than just an arts cinema. It Electric December Ambassadors.
    [Show full text]
  • Happy New Year!
    Advertise instantly via www.dailyinfo.co.uk [email protected] QR CODES Scan these Oxford’s 01865 241133 (Mon-Fri, 9am-6pm) with your phone’s QR code 1st floor of 121 Cowley Road, Oxford OX4 1HU app to go straight to these DAILY Line ads @ 50p/word. (min. 10) + VAT ads on dailyinfo.co.uk PROPERTY Box ads @ £10-£12/cm. (min. 3cm) + VAT JOBS INFO www.dailyinfo.co.uk HOUSES & FLATS TO LET Issue No. 8370 Next issue: Tue 8th Jan. Deadline: 10am, Mon 7th Jan RECRUITING: Fri 4th 2012 - Mon 7th Jan 2013 (Oxford Uni Christmas vac) WEEKEND SUPERVISOR Assessment Coordinator (must have managerial experience) This role, in the Test Development Unit (TDU), was IMMEDIATE START WHAT’S ON established to help achieve the operational objectives Must commit to a minimum of 1 year’s contract. in producing online tests. You will be required to Apply with CV to: [email protected] ensure the effective running of TDU operations, assist GREET THE NEW YEAR WITH AN Emperor String in the promotion of the TDU, support the development www.goingloco.com INVIGORATING YOGA WORKSHOP of IT systems and provide a high level of customer Quartet service. Educated to degree level, or with appropriate with renowned Astanga Yoga Britten String Quartet no.3 experience, you will be confident working with a range PART TIME TELESALES of software packages, have strong attention to detail, teacher Richard Adamo Oxford Tickets: Playhouse 01865 305305 / 07518 479062 STUDENTS WELCOME! Friday 5th & Saturday 6th January Coffee Holywell Music Room be well-organised and have high-level interpersonal We are an independent publisher for the global water Concerts skills.
    [Show full text]
  • Missorts Volume II
    Missorts Volume II MISSORTS VOLUME II a novella Tony White First published by Situations, 2012; this edition 2013 ISBN 978-0-9574728-2-2 Funded by Bristol City Council Editor: Claire Doherty Research Assistants: Julian Warren, Bristol Record Office, Katie Daley-Yates, Beth Alden Typeset in Berling and Myriad Pro by CB editions Cover design by An Endless Supply (www.anendlessupply.co.uk) © Tony White, 2012 The right of Tony White to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act, 1988. Commissioned by Situations for Bristol Legible City, as a companion work to Missorts, an immersive soundwork for Bristol by Tony White, which can be downloaded at www.missorts.com. Research for Missorts Volume II was initially undertaken in 2007–8, supported by Media Office as part of the research phase for a planned public art programme for the redevelopment of the former Royal Mail Sorting Office, Temple Meads, Bristol in association with Ginkgo Projects Ltd. Further research and completion of the novella was undertaken in Bristol and London throughout 2012 with the additional support of Situations and Bristol City Council. www.aprb.co.uk Situations Spike Island 133 Cumberland Road Bristol BS1 6UX www.situations.org.uk For Sarah Such ‘Right then, for those of us still remaining – us maniacs, assorted oddballs, eccentrics, folk who still feel that school is worthwhile, I suggest we keep trying. All right, everyone?’ David Hare, Wetherby I April 2006 Ronnie Urchfont turned the corner onto Cattle Market Road and walked down and under the bridge, just as he’d done most days for the past thirty-odd years.
    [Show full text]
  • The Trinity Centre Conservation, Management & Maintenance Plan
    Trinity Centre Conservation Project Conservation, Management & Maintenance Plan HLF HG-14-10203 The Trinity Centre Conservation, Management & Maintenance Plan Version 3 – October 2016 who wrote the plan and when Written by: Emma Harvey, Centre Manager, Trinity Community Arts Corinne Fitzpatrick, Ferguson Mann Architects Trinity Community Arts Trinity Centre Trinity Road Bristol BS2 0NW Page 1 of 47 Trinity Community Arts Ltd Registered Charity number 1144770 Registered Company Number 4372577 Trinity Centre Conservation Project Conservation, Management & Maintenance Plan HLF HG-14-10203 Contents 1 Introduction.......................................................3 5.9 Training.....................................................................21 1.1 Overview....................................................................3 6 Risks...............................................................23 1.2 about the authors.......................................................3 6.1 Risk Register............................................................23 1.3 Scope.........................................................................4 6.2 Key risks to our heritage...........................................23 1.4 Project summary........................................................5 Governance..............................................................23 2 Understanding Our Heritage.............................6 People......................................................................24 2.1 History of the Trinity Centre........................................6
    [Show full text]
  • Orchestra in a Field at Glastonbury Abbey with Audio Plus and Funktion-One
    ON THE ROAD: Orchestra In A Field ORCHESTRA IN A FIELD AT GLASTONBURY ABBEY WITH AUDIO PLUS AND FUNKTION-ONE THE GROUNDS OF GLASTONBURY ABBEY PROVIDED THE SETTING FOR A UNIQUE TWO-DAY FESTIVAL OF CLASSICAL AND CONTEMPORARY ORCHESTRAL MUSIC. THE ECLECTIC PROGRAMME RANGED FROM TCHAIKOVSKY’S ROMEO AND JULIET TO TUBULAR BELLS BY WAY OF HIP HOP, HAND BELLS AND OPERA. A FUNKTION-ONE PA BY AUDIO PLUS PROVIDED THE VERY NATURAL SOUND. SIMON DUFF REPORTED. Orchestra in a Field is the brainchild the UK’s first orchestra featuring world-class of conductor and broadcaster Charles musicians with disabilities, the Post War Hazelwood, aiming to bring together the Orchestra, who perform using decommissioned best qualities of the concert hall with military hardware and the Hip Hop Shakespeare those of an outdoor festival. On the main Company. stage highlights on the first night included How to concurrently handle the different Mussorgsky’s Pictures at an Exhibition, with requirements of an orchestra, rock band, opera, improvised sections added by Goldfrapp’s and hip hop in a way that avoided the need Will Gregory and Portishead’s Adrian Utley, for complicated changeovers was the main prior to a performance of Mike Oldfield’s challenge for stage management. In total some Tubular Bells. On the Sunday, Professor 160 channels of audio were used at FOH, with Green and Labrinth performed for the first mixing duties split over three DiGiCo consoles. time with a symphony orchestra. One SD8 was used to mix the orchestra. Bizet’s Carmen had a line up of nine principle Another SD8 looked after the band and different singers, a fifty strong chorus plus a 100 strong line-ups.
    [Show full text]
  • Portisheads Dummy Ebook, Epub
    PORTISHEADS DUMMY PDF, EPUB, EBOOK Rj Wheaton | 144 pages | 07 Dec 2011 | Continuum Publishing Corporation | 9781441194497 | English | New York, United States Portisheads Dummy PDF Book Learn how to enable JavaScript on your browser. Massive Attack came out of eight years of work in sound systems, and had a strong Caribbean identity. It was really awkward. Alain Badiou is undoubtedly the most exciting and influential voice in contemporary French philosophy and one of the most important theorists at work today. He could make his organ just go from barely audible to absolutely take your head off. You played the really wobbly bass stuff, which is the majority of it. And in Gibbons it offered a bleak, twisted and completely novel vision of what a blues singer could be. Utley: I think that's really super cool. The track opens with nearly a full minute of dark, spacious chords ringing out from a Fender Rhodes electric piano through a Fender Twin , with the bass cranked with the onboard tremolo cranked to deliver the pulsing vibe that gives the song its underlying rhythm. You've worked out the weird kind of chords that she had. Continue on UK site. They said that the snare drum sounds like a tin can. In fact, one of the first sounds you hear on the record—that ethereal, Theremin-like lead on "Mysterons"—was actually conjured out of the SH Initially created as an affordable and somewhat simplified alternative to Roland's more advanced synthesizers, the SH has attracted a loyal following since its release in So how did Portishead craft the signature sound of Dummy? People must have told you they use this music for all kinds of situations.
    [Show full text]