Manchesters New Live Venue & Indie Club Agents Guide
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In the High Court of Justice Claim No Hc13 Fo4688 Chancery Division Intellectual Property Between
IN THE HIGH COURT OF JUSTICE CLAIM NO HC13 FO4688 CHANCERY DIVISION INTELLECTUAL PROPERTY BETWEEN; WARNER RECORDS 90 LIMITED STEPHEN MORRIS GILLIAN GILBERT BERNARD SUMNER DEBORAH WOODRUFF PETER HOOK - and - JULIA ADAMSON D E F E N C E OF JULIA ADAMSON DEFENDANT Clauses 9 (a) and (b), 21, 22, 23, 24 I was an employee at Strawberry Studios from 1984 to 1989. When Strawberry Studios closed down the staff were busy clearing out the building. There were at least 20,000 copy masters from various bands and the artistes or their agents. They were contacted as to whether they wished to buy the tapes from the Strawberry library because they were clearing out. Mostly the artistes already had their own copies and said Strawberry should dispose of them. Some asked for the copy masters and these were handed over. The remaining copy masters were consigned to the skips. A colleague David Drennan was assigned the task of contacting as many of the clients as possible about their tapes. In the case of Factory Records, David Drennan remembers that they only asked for The Happy Mondays tapes and did not want any others. (see copy email ‘Dave Drennan’) Later I discovered that Factory Records had parted company with Joy Division/New Order. I felt that the tapes of Martin Hannett's work i.e. the ones he produced should not be destroyed. That is why I removed them from the skip and rescued them from landfill. When Warners were threatening court action I contacted Nick Turnbull (see copy email ‘Nick Turnbull’) who had been the owner of Strawberry Studios and who closed it down. -
Joy Division and Cultural Collaborators in Popular Music Briana E
Western University Scholarship@Western Electronic Thesis and Dissertation Repository August 2016 Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music Briana E. Morley The University of Western Ontario Supervisor Dr. Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree in Master of Arts © Briana E. Morley 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Music Commons Recommended Citation Morley, Briana E., "Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music" (2016). Electronic Thesis and Dissertation Repository. 3991. https://ir.lib.uwo.ca/etd/3991 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. Abstract There is a dark mythology surrounding the post-punk band Joy Division that tends to foreground the personal history of lead singer Ian Curtis. However, when evaluating the construction of Joy Division’s public image, the contributions of several other important figures must be addressed. This thesis shifts focus onto the peripheral figures who played key roles in the construction and perpetuation of Joy Division’s image. The roles of graphic designer Peter Saville, of television presenter and Factory Records founder Tony Wilson, and of photographers Kevin Cummins and Anton Corbijn will stand as examples in this discussion of cultural intermediaries and collaborators in popular music. -
The Factory, Manchester
THE FACTORY, MANCHESTER The Factory is where the art of the future will be made. Designed by leading international architectural practice OMA, The Factory will combine digital capability, hyper-flexibility and wide open space, encouraging artists to collaborate in new ways, and imagine the previously unimagined. It will be a new kind of large-scale venue that combines the extraordinary creative vision of Manchester International Festival (MIF) with the partnerships, production capacity and technical sophistication to present innovative contemporary work year-round as a genuine cultural counterweight to London. It is scheduled to open in the second half of 2019. The Factory will be a building capable of making and presenting the widest range of art forms and culture plus a rich variety of technologies: film, TV, media, VR, live relays, and the connections between all of these – all under one roof. With a total floor space in excess of 15,000 square meters, high-spec tech throughout, and very flexible seating options, The Factory will be a space large enough and adaptable enough to allow more than one new work of significant scale to be shown and/or created at the same time, accommodating combined audiences of up to 7000. It will be able to operate as an 1800 seat theatre space as well as a 5,000 capacity warehouse for immersive, flexible use - with the option for these elements to be used together, or separately, with advanced acoustic separation. It will be a laboratory as much as a showcase, a training ground as well as a destination. Artists and companies from across the globe, as well as from Manchester, will see it as the place where they can explore and realise dream projects that might never come to fruition elsewhere. -
Leading Artists Commissioned for Manchester International Festival
Press Release LEADING ARTISTS COMMISSIONED FOR MANCHESTER INTERNATIONAL FESTIVAL High-res images are available to download via: https://press.mif.co.uk/ New commissions by Forensic Architecture, Laure Prouvost, Deborah Warner, Hans Ulrich Obrist with Lemn Sissay, Ibrahim Mahama, Kemang Wa Lehulere, Rashid Rana, Cephas Williams, Marta Minujín and Christine Sun Kim were announced today as part of the programme for Manchester International Festival 2021. MIF21 returns from 1-18 July with a programme of original new work by artists from all over the world. Events will take place safely in indoor and outdoor locations across Greater Manchester, including the first ever work on the construction site of The Factory, the world-class arts space that will be MIF’s future home. A rich online offer will provide a window into the Festival wherever audiences are, including livestreams and work created especially for the digital realm. Highlights of the programme include: a major exhibition to mark the 10th anniversary of Forensic Architecture; a new collaboration between Hans Ulrich Obrist and Lemn Sissay exploring the poet as artist and the artist as poet; Cephas Williams’ Portrait of Black Britain; Deborah Warner’s sound and light installation Arcadia allows the first access to The Factory site; and a new commission by Laure Prouvost for the redeveloped Manchester Jewish Museum site. Manchester International Festival Artistic Director & Chief Executive, John McGrath says: “MIF has always been a Festival like no other – with almost all the work being created especially for us in the months and years leading up to each Festival edition. But who would have guessed two years ago what a changed world the artists making work for our 2021 Festival would be working in?” “I am delighted to be revealing the projects that we will be presenting from 1-18 July this year – a truly international programme of work made in the heat of the past year and a vibrant response to our times. -
First Street Manchester One Two Three Four Five Six Seven Eight Nine Ten Contact One Two Three Four Five Six Seven Eight Nine Ten Contact First Street First
FIRST STREET MANCHESTER ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE TEN CONTACT ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE TEN CONTACT FIRST STREET FIRST Find yourself in First Street. An environment created for happiness and productivity where work and life intertwine. Breaking down boundaries between the personal and the professional, this is a community for contemporary working and living. ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE TEN CONTACT FIRST STREET THE PLACE TO BE WHITWORTH STREET WEST FIRST STREET TONY WILSON PLACE MEDLOCK STREET ISABELLA BANKS ST. JAMES GRIGOR SQUARE NO.8 ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE TEN CONTACT TONY WILSON PLACE At First Street Tony Wilson Place is named after the maverick Mancunian Tony Wilson, AKA ‘Mr Manchester’. DJ, Journalist, TV Presenter and more, his achievements are too many to mention. Tony famously founded the Hacienda nightclub and co-founded Factory Records. home to acts including Joy Division, New Order, Happy Mondays and James. Inspired by his spirit, Tony Wilson Place breathes new life into an old Manchester site (previously home to a gas works and also the British Council). Like Tony, it’s a place that understands the business benefits of culture, the arts and entertainment. ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE TEN CONTACT IMPRESSIVE FIRST IMPRESSIONS Step into the recently refurbished and modernised reception. Along with the full height central atrium, it provides a wonderful welcome. The contemporary mood of your arrival experience is in keeping with the calibre of companies within the building. -
The Hannay Family by Col. William Vanderpoel Hannay
THE HANNAY FAMILY BY COL. WILLIAM VANDERPOEL HANNAY AUS-RET LIFE MEMBER CLAN HANNAY SOCIETY AND MEMBER OF THE CLAN COUNCIL FOUNDER AND PAST PRESIDENT OF DUTCH SETTLERS SOCIETY OF ALBANY ALBANY COUNTY HISTORICAL ASSOCIATION COPYRIGHT, 1969, BY COL. WILLIAM VANDERPOEL HANNAY PORTIONS OF THIS WORK MAY BE REPRODUCED UPON REQUEST COMPILER OF THE BABCOCK FAMILY THE BURDICK FAMILY THE CRUICKSHANK FAMILY GENEALOGY OF THE HANNAY FAMILY THE JAYCOX FAMILY THE LA PAUGH FAMILY THE VANDERPOEL FAMILY THE VAN SLYCK FAMILY THE VANWIE FAMILY THE WELCH FAMILY THE WILSEY FAMILY THE JUDGE BRINKMAN PAPERS 3 PREFACE This record of the Hannay Family is a continuance and updating of my first book "Genealogy of the Hannay Family" published in 1913 as a youth of 17. It represents an intensive study, interrupted by World Wars I and II and now since my retirement from the Army, it has been full time. In my first book there were three points of dispair, all of which have now been resolved. (I) The name of the vessel in which Andrew Hannay came to America. (2) Locating the de scendants of the first son James and (3) The names of Andrew's forbears. It contained a record of Andrew Hannay and his de scendants, and information on the various branches in Scotland as found in the publications of the "Scottish Records Society", "Whose Who", "Burk's" and other authorities such as could be located in various libraries. Also brief records of several families of the name that we could not at that time identify. Since then there have been published two books on the family. -
Manchester Contents
a guide to tax free shopping in Manchester Contents 2-3 Introduction 4-25 Shopping Destinations 4-5 Exchange Square & New Cathedral Street 6-7 Selfridges 8-9 Harvey Nichols 11 Deansgate & St Ann’s Square 12-13 The Avenue, Spinningfields 14 King Street DKnY 15 Northern Quarter 16-17 Private White 18-21 Intu Trafford Centre 22-23 Cheshire Oaks Designer Outlet 25 Market Street & Manchester Arndale Goldsmiths hard rock cafe 26-27 Where to stay ramada salford Quays the Lowry hotel radisson Blu Manchester airport sacO Manchester - Piccadilly 28-36 Useful Information 28 Manchester Services 29 How to claim a refund 30 Manchester Airport 32-35 Tax Free Retailers 36 Discover Manchester Manchester City Centre Map Whilst every effort has been made to ensure the accuracy in this publication, Marketing Manchester cannot accept liability for any loss or damage arising from its use. as changes often occur after publication date, it is advisable to confirm the information given. the information contained within this guide is copyright and no part of the guide may be reproduced in part or wholly by any means, be it electrical or mechanical without prior written permission of the publishers. visitmanchester.com @visit_mcr 1 Tax free shopping in Manchester In the UK a sales tax of 20% (Vat) is added to goods. Visitors from outside the eU can claim this tax back when departing the country. this guide highlights the very best of Manchester’s shopping districts, lists the tax free retailers and explains how to claim that refund. Manchester’s compact nature makes the city perfect for shopping. -
How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City
Journal of Popular Music Studies, Volume 25, Issue 1, Pages 56–76 How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City Leonard Nevarez Vassar College Manchester, England, is among the most well-known cities today for the creation and celebration of popular music, thanks in no small part to the group Joy Division. Among the first bands to be associated with a postpunk aesthetic, Joy Division eschewed punk’syouthful rage and unrelenting din for an expansive, anthemic sound distinguished by its dynamic scope, machinic pulses, and by singer Ian Curtis’ssonorous baritone and existential lyrics. As the first significant band to sustain a career in Manchester, thus bypassing the music industry headquartered in London, Joy Division is also recognized as pioneering the DIY tradition that has famously characterized Manchester’s musical economy over the last four decades. The group didn’t achieve this alone; the role of Manchester label Factory Records is well documented, as, increasingly, is the foundation laid by the city’s networks of musicians, scene participants, and cultural institutions (see Crossley; Botta).´ Yet these local facts don’t quite explain the contemporary resonance of Joy Division’s Manchester roots for music fans and city boosters today. Perhaps more than any other Mancunian band, Joy Division are claimed to sound like Manchester, at least the Manchester of a certain era. That is, the group did not just originate from the late 1970s Manchester of deindustrialization, carceral housing estates, Thatcherism, and punk’s youthful refusal; nor do they simply illustrate a recurring Mancunian ethos of creative pluck and insouciant disregard for London’s cultural hegemony (Haslam, Manchester, England). -
Peter Saville –
S1:E5 “Peter Saville – OUTPUT – Gutta cavat lapidem” vai alla prima parte Playlist per OUTPUT|Saville – parte seconda: Gutta cavat lapidem La necessità di cambiare le carte in tavola nel mondo del rock, da parte di artisti che volevano imporre un nuovo linguaggio creativo, lo hanno fatto con costanza e determinazione, come una goccia che scava la “roccia”.(Valerio Michetti) La Factory di Wilson e Saville risponde all’urgenza di trovare “spiriti affini che potessero capire e reagire” [Post Punk: 1978-1984, Simon Reynolds] Le scelte grafiche permetteranno alla Factory e ai gruppi che rappresentano di fare da confine con l’era post punk, figli di un’eleganza austera, spezzano la prospettiva romantico pre punk e lo stereotipo new wave. Costruiscono il profilo visuale della loro vocazione neo modernista, hanno un catalogo irragionevole e sballato, pieno di idee fasulle e di progetti mai realizzati benedetti da dio Duchamp: Fac 8 era una clessidra mestruale ideata e mai prodotta da Linder Sterling; Fac 99 era il conto del dentista di Robert Gretton, codirettore della Factory. “Per Wilson, questo genere di trovate rientrava nello spirito del situazionismo, lo spirito francese anarco-dadaista degli anni sessanta, le cui idee ammirava particolarmente” [Post Punk: 1978-1984, Simon Reynolds] È una visione dell’arte che butta giù i muri che la separano dallo scenario quotidiano che circonda l’artista, oggetti decontestualizzati prendono vita e sono protagonisti altrove, come il segnale di pericolo rubato dalla residenza universitaria, cui si ispirò per la realizzazione del manifesto della Factory, disegnato nel maggio del 1978: Fac 1, opera classico-modernista che possiamo far rientrare nella corrente dello “sleeve design”. -
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AYRSHIRE MONOGRAPHS NO.25 The Street Names of Ayr Rob Close Published by Ayrshire Archaeological and Natural History Society First published 2001 Printed by The Cromwell Press Ltd, Trowbridge, Wiltshire Rob Close is the author of Ayrshire and Arran: An Illustrated Architectural Guide (1992), and is presently co-editor of Ayrshire Notes. He has also contributed articles to Scottish Local History, Scottish Brewing Archive and other journals. He lives near Drongan with his long-suffering partner, Joy. In 1995 he was one half of the Scottish Handicap Doubles Croquet Champions. Cover design by David McClure. 1SBN 0 9527445 9 7 THE STREET NAMES OF AYR 1 INTRODUCTION Names have an important role in our lives: names of people, names of places, and names of things. In an enclosed, small community, these names remain informal, but as the community grows, and as travel and movement become commoner, then more formalised names are required, names which will prevent confusion. Formal and informal names can exist alongside one another. During the course of preparing this book, I agreed to meet some friends on the road between ‘Nick’s place’ and ‘the quarry’: that we met successfully was due to the fact that we all recognised and understood these informal place names. However, to a different cohort of people, ‘Nick’s place’ is known as ‘the doctor’s house’, while had we been arranging this rendezvous with people unfamiliar with the area, we would have had to fall back upon more formal place names, names with a wider currency, names with ‘public’ approval, whether conferred by the local authority, the Post Office or the Ordnance Survey. -
18 Extraordinary Days of World Premieres and Special Events
1 page 48 Get involved 18 EXTRAORDINARY Take part in a show / Develop your talent / Join our creative community page 48 DAYS OF WORLD page 48 Become an MIF Member Priority booking / Festival Square PREMIERES AND Free gift / Special offers / The home of MIF Discounts in Festival Square / Exclusive invites SPECIAL EVENTS page 56 Interdependence Talks & discussions page 8 page 16 page 43 page 21 page 46 Experience online Access MIF19 opening event Live streams / Immersive Access performances / (AR/VR) / Podcasts / Venue access / Join Films / Long reads our access mailing list mif.co.uk/viewpoints page 54 #MIF19 Essentials mcrintfestival Book tickets / Plan your visit / Venue page 4 mifestival directory / Complete mifestival Festival calendar page 32 page 40 Book tickets at mif.co.uk manchesterintfest page 50 YOKO ONO WORLD PREMIERE Yoko Ono invites the people of Manchester to Cathedral Gardens gather together in Cathedral Gardens and send Thur 4 July, 6pm a message of peace to the world. Join thousands of diverse voices and a people’s orchestra of bells Admission free from home and abroad as the city rings and sings out for peace – and welcomes the world to Manchester. Watch live online mif.co.uk/live Yoko Ono has been among the world’s most #BELLSFORPEACE renowned and respected artists for more than 50 years. This new commission is the first major Get involved work she has created for the city of Manchester. Visit mif.co.uk/ getinvolved or email [email protected] Commissioned and produced by Manchester International Festival. Supported by Paul Hamlyn Foundation as part of My Festival. -
NEW ISLINGTON WHARF, ANCOATS, MANCHESTER Greater Manchester
NEW ISLINGTON WHARF, ANCOATS, MANCHESTER Greater Manchester Archaeological Investigation Oxford Archaeology North November 2005 CgMs Issue No: 2005-06/455 OA North Job No: L9605 NGR: SJ 8530 9825 Document Title: NEW ISLINGTON WHARF, ANCOATS, MANCHESTER Document Type: Archaeological Investigation Client Name: CgMs Issue Number: 2005-06/455 OA Job Number: L9605 National Grid Reference: SJ 8530 9825 Prepared by: Sean McPhillips Position: Project Officer Date: November 2005 Checked by: Ian Miller Signed……………………. Position: Senior Project Manager Date: November 2005 Approved by: Alan Lupton Signed……………………. Position: Operations Manager Date: November 2005 Document File Location Wilm/Projects/L9605/Moore’s Mill/Report Oxford Archaeology North © Oxford Archaeological Unit Ltd 2005 Storey Institute Janus House Meeting House Lane Osney Mead Lancaster Oxford LA1 1TF OX2 0EA t: (0044) 01524 848666 t: (0044) 01865 263800 f: (0044) 01524 848606 f: (0044) 01865 793496 w: www.oxfordarch.co.uk e: [email protected] Oxford Archaeological Unit Limited is a Registered Charity No: 285627 Disclaimer: This document has been prepared for the titled project or named part thereof and should not be relied upon or used for any other project without an independent check being carried out as to its suitability and prior written authority of Oxford Archaeology being obtained. Oxford Archaeology accepts no responsibility or liability for the consequences of this document being used for a purpose other than the purposes for which it was commissioned. Any person/party using or relying on the document for such other purposes agrees, and will by such use or reliance be taken to confirm their agreement to indemnify Oxford Archaeology for all loss or damage resulting therefrom.