FEATURE: Minds Over Matters

FEATURE:

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PHOTO CREDIT: Unsplash 

Minds Over Matters

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TODAY is a very important one for anyone who has to deal…

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with a mental health problem. It is World Mental Health Day and, rather than this being a chance to ‘make space’ for the issue: many are sharing their stories and revealing their struggles. There are a couple of reasons why I wanted to mark World Mental Health Day. For a start; there are many musicians who suffer mental health issues – and many other psychological disorders – and have to keep their illness s secret. Some of the biggest names in music go through mental health struggles. In fact, when researching for this piece, I came across an illuminating piece in the Independent. In it; Nothing but Thieves’ frontman Conor Mason revealed his struggles – and the way pressure and expectations sit on his shoulders:

I don’t want to be the guy to burst the bubble around the typical view of a rock ‘n’ roll frontman. The sexed-up, drug-fuelled lothario; the party animal who doesn’t give a monkeys about anything but himself and the road.

But we can’t all be in ‘Towers of London’. The way I work is somewhat different, because, I suppose I’m just made of different stuff. I’ve never seen myself as an alpha male stereotype, so instead of trying to fit that mould I find myself swaying effortlessly towards the opposite. I see myself as the frontmum of the band instead of frontman, a sensitive chap who wouldn’t bark at a fly - and I’m cool with being an anti-cool figure.

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IN THIS PHOTO: Conor Mason/PHOTO CREDIT@NBTConor

When the going gets tough, that archetypal male survival mindset doesn’t kick in for me, I don’t ‘man up’. I don’t even know what that’s supposed to mean. Grin and bear it? Shout at it? Lash out at it? Does it mean ignore your issues and don’t speak to anyone about what you’re facing? Feel it but don't show it?

I just can’t do that. I’ve really tried, but as I’ve grown up I’ve realised how much cooler and frankly healthier it is to be open and express myself. I just try and be myself and not care about what people think of me, so in turn that makes me sensitive to everything, I care a lot. Ironic really.

The music industry is an alternative reality. It can give you a hall pass to deal poorly with normal life. This doesn’t account to everyone in the industry, not by a long shot, but a large number of musicians I meet have problems they suppress and never deal with correctly. I have friends who have messed up their marriages, hooked on drugs and women because it’s so readily available on the road, using them to block out difficulties in life. For people who come into this lifestyle as kids it's a bewildering, with no rule books and very little guidance, but that's the price of having the best job in the world, creating and performing music.

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 PHOTO CREDIT: Unsplash

It is a candid and revealing feature – read the entire thing; it is a very good read! – but, rather frustratingly, embed between the paragraphs are adverts, inane posts and banners! It seems, even when discussing something as serious as someone’s mental health issues – it cannot be given its own space without being wrapped around irritating garbage and spam. It is not the fault of the newspaper/website itself but it is annoying seeing a great and open piece spoiled by advertising/money-making distractions. As someone who suffers from mental health issues; I find myself being overlooked and buried, to an extent. It might seem like a rather bad metaphor but I am the advert inside the article: the minor bird trying to get its voice heard. For me; mental illness defines me and what I have done since I was young. It struck me when I was about eighteen and has been responsible for a lot of bad moments – some good in there, too. I can confidently say the reason I am a music journalist is because of my mental illness: it is debatable whether I would be as driven and single-minded without it. That sounds rather destructive but (poor mental health) has translated into something productive and, I think, good. Many assume musicians have very little to be worried and down about. As we can see from Conor Mason’s piece; there are downsides and perils being part of a band – the slumps and endless hours; the huge expectations and stress. I have found my mental health issues exacerbating for a number of different reasons.

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My blog is becoming more popular and, with it, the requests filter in wildly. I rarely say ‘no’ to anyone so it means my days – away from the full-time job – are spent emailing interviews and writing. My weekends are consecrated to the pursuit of music-writing and there are few hours spent away from the laptop. I can detach and tear myself away but I feel guilty if I take moments off and it would cause me stress – I have not had a ‘day off’ in over a year. Many see my pieces come out and assume I am happily typing and everything is breezy. In actuality, if one positioned a camera in my room – no office or suite: a small-ish room in a normal house – they would find a man who suffers a lot of stress. Every Internet drop-out and website issue causes me near-heart-attack-levels of anxiety and stress. I can be incredibly cold and distant in these times. In fact, a lot of my writing life is spent isolated and jettisoning human contact. That is my decision but I feel, aside from family, there is nothing that offers fulfilment or any connection – writing is an outlet where I can be myself and express what is inside me. My social skills are not great and there is a sense of awkwardness and lacking coordination – in terms of conversation and relationships.

We rarely consider music professionals and what goes through their mind. Depression, anxiety and poor mental health are not reserved to certain professions and sectors! It is an indiscriminate beast that feasts on the noble and hopeless alike. Among my musician contacts; I have seen everything from bipolar affective disorder and B.P.D. (borderline personality disorder) cause irreparable damage and change. A lot of musicians get into the industry in order to normalise and stabilise their mental health issues – putting it into song and finding a like-minded community. This, to me, is a side of music that is overlooked: how much support and love there is online. Perhaps the average workplace is less aware and educated about the depths and true heartache of depression, let’s say. I am not suggesting everyone in the music industry suffers mental health problems but the statistics are more alarming than the national average. It is said one-in-four (or one-in-six, as other outlets claim) of us suffers mental health issues at some point in our lives: I find that statistic rather patronising and myopic. There are a LOT more people than that who would knock that statistic – the fact people do not disclose their illness means the figure is rather biased and misleading. Musicians do not have a propensity for depression and psychological disorders - but one can draw a link between creatives and emotional unrest.

I found myself the outsider at school and had to foster a reality outside the social cliques and bike-shed-dwelling cool. I feel like an outsider still but have managed to find a sense of tribe and family (outside my own). The fact it is online is both a blessing and curse. Being able to connect with so many people who understand my problems – and share my weaknesses – is rewarding, comforting and humbling. Strip away the words and what is left is emptiness. These people are not real – they exist, but not in my daily life – so any friendship is ersatz and/or tenuous. Many on there I have a fondness for and respect them greatly: once the laptop is off; the hollowness strikes hard. Maybe social media and dependence on the Internet have made it harder to tackle mental health issues and worsened our sense of loneliness and addictiveness. One of the other reasons my mental health issues have become more pronounced is associated health issues – painful legs and chest cramps among them. Some might say that is a precursor to heart problems but I identity (these symptoms) as physical manifestations of depression. I can empathise with the plight and complexities of mental health problems; the realities and sadness many of my peers feel. We often ignore musicians and their minds because we bond with the words and music – few consider the personality and skin behind the sounds.

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 PHOTO CREDIT: Unsplash

Today should not be a one-off day where we feel obliged to shine a light on mental health struggles and people who undergo psychological illness. It is a way of opening up and taking stigma out of depression. Not only do people feel embarrassed or reluctant to open up to someone: many associate mental health problems with depression alone. Few realise the range of sub-categories, associated ailments and full psychological platter. I have mentioned borderline personality disorder but there is bulimia, schizophrenia and post-traumatic stress – so many other problems one can face. Perhaps few feel confident talking about their mental illness through fear of recriminations and ignorance. I often hesitate because, often, there is a sense of cliché and lack of understanding – not from family but other people in society.

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I do not reveal quite how bad things are but I recognise things need to change. Knowing I am not alone is a relief but it can make me feel even more alone. The more people diagnosed with mental health problems; the harder it is to treat and speak to all of ‘us’. Today is not for the few and the misaligned: it is for anyone and everyone who has any mental health problem. Rather than hide it away and feel embarrassed by any perceived sense of ‘weakness’ – this is a chance to talk to other suffers and get your story heard. So many musicians undergo all manner of mental health problems and it can be hard talking about it. There is so much pressure on their shoulders and their daily existence is so busy and stressed – maybe that is making things worse?! I do worry we are putting too much pressure on musicians and that, in turn, is causing many to suffer needlessly. Lots of love to anyone and everyone who has to feel the daily sting of mental health’s cruel whip – massive respect for sharing your experiences and being brave. Not only does it help others come forward and feel less alone about their problems. Importantly; the more we talk about mental health issues, the quicker we can reduce…

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THE number of people who have to suffer silently.

FEATURE: Albums to Watch Out for in October

FEATURE:

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IN THIS PHOTO: St. Vincent

Albums to Watch Out for in October

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WE are comfortably into October and have already…

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IN THIS PHOTO: Julien Baker

witnessed some great albums come through. The nights are drawing in and there is definitely a winter vibe in the air. It is the time to get properly into music and ensure everyone is aware of all the biggest and best records due for release this month...

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Beck Colors

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Release Date: 13th

Label: Capitol

Producers: Beck, Greg Kurstin and Cole M.G.N.

Followhttps://www.facebook.com/Beck/

William Patrick CorganOgilala

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Release Date: 13th

Label: BMG Rights Management (US) LLC

Producers: Rick Rubin and Billy Corgan

Followhttps://www.facebook.com/BillyCorgan/

Robert Plant Carry Fire

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Release Date: 13th

Label: Nonesuch Records Inc.

Producer: Robert Plant

Followhttps://www.facebook.com/robertplant/

Pale HoneyDevotion

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Release Date: 13th

Label: Bolero Recordings

Followhttps://www.facebook.com/palehoney/

P!nk Beautiful Trauma

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Release Date: 13th

Label: RCA

Producer: Steve Mac, Jack Antonoff and Max Martin

Followhttps://www.facebook.com/pink/

St. Vincent MASSEDUCTION

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Release Date: 13th

Label: Lorna Vista Recordings

Producer: St. Vincent, Jack Antonoff and Soundwave

Followhttps://www.facebook.com/St.Vincent/

Jessie Ware Glasshouse

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Release Date: 20th  

Label: Island

Followhttps://www.facebook.com/jessiewaremusic/

Lindstrøm - It's Alright Between Us as It Is 

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Release Date: 20th

Label: Smalltown Supersound

Followhttps://www.facebook.com/hplindstrom/

Julien Baker Turn Out the Lights

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Release Date: 27th

Label: Matador

Producer: Julien Baker

Followhttps://www.facebook.com/julienrbaker/

Weezer Pacific Daydream

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Release Date: 27th

Labels: Atlantic; Crush

Producers: Butch Walker; Johny Coffer; J.R. Rotem and Toby Gad

Followhttps://www.facebook.com/weezer/

FEATURE: Write On… Incredible Music Blogs Worth Following

FEATURE:

 

Write On…

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 PHOTO CREDIT: Pixabay 

Incredible Music Blogs Worth Following

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MANY people wonder whether the music industry...

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PHOTO CREDIT: Unsplash

is suffering because of the digitisation of the press. In fact, it is not really viable sustaining the physical press due to purchasing and production costs. The diaspora of music journalism has seen it migrate from the printing press to the Internet. It means we can get our music news and reviews instantly: none of the waiting for the magazine and becoming impatient. In a sea of music blogs – more coming into the market by the week – there are many great and noble; even more average ones; even more bad ones, it seems. Depending on your tastes and proclivities will determine which blogs you go looking for. I find the more all-round and multi-genre sites cater to music-lovers who have a broad scope.

With that in mind...I bring those blogs that everyone should keep in their ‘Favourites’ list.

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Pitchfork

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 Founded in 1995 by Ryan Schreiber, who was working in a record store at the time, the magazine developed a reputation for its extensive focus on independent music, but it has since expanded with a variety of coverage on both indie and popular music artists. Pitchfork publishes daily reviews, features and interviews - as well as real-time music news coverage. Pitchfork has developed one of the web's most devoted and loyal followings, in the process spawning Chicago's annual Pitchfork Music Festival and the online music video channel Pitchfork.tv.

Website: https://pitchfork.com/

Twitter: https://twitter.com/pitchfork

Facebook: https://www.facebook.com/Pitchfork/

Indie Shuffle

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 We’re a diverse group of people excited about sharing music. We’re not about 10-point ratings or giving bad reviews. You might not agree with all of our tastes, but hopefully a few of us can help you find something new. At Indie Shuffle, we believe humans are better than robots when it comes to music discovery. Think about it. How many of your favourite bands were recommended to you by a friend? That’s why we’ve assembled a team of international writers to bring you the best music, including indie rock, hip hop, electronic, and everything in between. It’s music discovery powered by real people. Consider us your new best friends.

Website: https://www.indieshuffle.com/

Twitter: https://twitter.com/indieshuffle

Facebook: https://www.facebook.com/indieshuffle

Consequence of Sound

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Consequence of Sound is a New York and Chicago-based online music, film, and television publication. Since its inception in 2007, CoS has reported on all of music’s breaking news, in addition to hyping new artists and cracking highly anticipated lineups for music festivals across the globe. In 2014, Consequence of Sound expanded its coverage into film with daily reviews and features in addition to breaking news updates.

With a committed staff of just over 50 writers, editors, graphic designers, and photographers, CoS continues to successfully push its way ahead of the engaging and highly competitive new media market.

Website: https://consequenceofsound.net/

Twitter: https://twitter.com/consequence

Facebook: https://www.facebook.com/consequence/

 Drowned In Sound

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Over the past 14 years, Drowned in Sound has established itself as “the first port of call for music obsessives” (The Observer). The site’s authoritative reviews and interesting interviews with everyone from Bjork to Paul McCartney have won many awards, whilst the irreverent community on the site’s forums have generated 5million different topics of discussion.

Our Wiki says:

DrownedinSound.com, or DiS, is a UK-based music webzine dedicated to new, independent, innovative and groundbreaking music, as well as the best from established artists and international talents.
DiS is one of the leading tastemakers in the UK, with an average of 500,000 unique users every month, and operates a critically celebrated independent record label - DiS Recordings - instrumental in launching the careers of Bat For Lashes, Kaiser Chiefs and Martha Wainwright. DiS recently signed a joint-venture deal with BSkyB to launch many new sites and upstream content into various parts of the Sky system.

DiS started in 1998 as The Last Resort (which was essentially an emailed blog) but was relaunched as DrownedinSound.com in 2000. It is managed by Sean Adams

The freelance writing team is spread across the globe, with contributors based in four continents - North America, Asia, Europe and Australasia. The site is largely based on contributions from unpaid writers and has an integrated forum to allow for discussion and comments on interviews, news and reviews. It also includes a user-rated database of artists and bands as well as details for most live music venues (big and small) in the UK. Aside from space for comments, there are separate forums for general discussion, music related discussion and advertisements for people requiring bands or musicians. The site has over 100,000 registered members.

Website: http://drownedinsound.com/

Twitter: https://twitter.com/drownedinsound

Facebook: https://www.facebook.com/drownedinsounduk/

The Line of Best Fit

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The Line of Best Fit is the UK's biggest independent website devoted to new music.

From bedroom blog beginnings ten years ago, we're one of the world’s most trusted voices for music discovery, read by more two million people a month who come to the site to find their new favourite band.

Follow our Discovery playlist on Spotify - updated weekly - to find out what we’re listening to right now.

Oh and we got our name from a song on Death Cab for Cutie's You Can Play These Songs with Chords.

Website: https://www.thelineofbestfit.com/

Twitter: https://twitter.com/bestfitmusic

Facebook: https://www.facebook.com/thelineofbestfit/

Ditto Music Blog

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Introducing Ditto Music

We're an online digital music distributor with a proven record of getting unsigned artists into the UK Top 40, and the world's biggest artists into the world's digital stores.

We're musicians ourselves: we understand, care and have won awards for our customer service. We give you everything a record label can offer and value no one can match. Wherever the next innovation in online music distribution is, we'll find it and make it easier for you to get your music out there, heard and sold.

We're Ditto. And the world is listening.

Ditto Music distribute your music online and into the charts. We were responsible for the first ever unsigned artist (Koopa) to break the UK top 40 singles chart in 2007. We now distribute over 30,000 artists including Ed Sheeran, Paul McCartney and Finch.

As well as digital distribution to hundreds of key stores, we provide you with the tools to succeed and build a brand behind your music.

Website: https://www.dittomusic.com/

Twitter: https://twitter.com/Dittomusic

Facebook: https://www.facebook.com/DittoMusicDigital

 Louder than War

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In 2010 we decided that there was a space for a new type of website that didn’t follow the preconceived rules of music.

We were bored of genres and the conventional history of music; we liked so much music and we wanted to communicate it.

We didn’t realise how many people agreed with us and the site has become one of the fastest growing, award winning music websites in the UK.

Our Manifesto:

1.       Fast forward to the future

We are always looking for the new noise, the next buzz, we have no borders, no boundaries – all the musical skree of the 21st century is ours to celebrate.

2.       Old, new, borrowed and blue

The future does not mean a fear of the past – we have a wonderful archive of classic features which we will exhibit; movers and shakers from any period always burn brightly.

3.       The world is ours

No corner of the planet is beyond bounds. Norwegian death metal, Brazilian freak punk, Baille funk, Mexican quiff bop, English punk, electronic pop, Angolan Kuduro music, north African hip hop, the foulest bedsit dubstep, Manchester lad bands, Turkish gypsy music, Goa Trance, Japanese freak noise, African rhythms, Karnatik folk, Greek Mohawked anarchists and Indian metal hardcore – it’s all in here and more; we celebrate the classic Anglo American axis but we are not constrained by it. We are open to suggestions. We are open.

4.       Do you believe in the power of rock n roll?

We still believe in the power of music and we still believe in the counter culture.

5.       New blood for young skulls

We actively seek new talent to compliment the old. Great writers from the past rub shoulders with youthful first-timers. We are open people.

6.       I am the resurrection

We have no truck with the loose talk of pop culture being over. It’s not even started yet. These are fractured times and we are in the wild west of technology. There is an information overload and we are loving it.

7.       Keep on moving

We travel a lot and we have writers from all over the world. We love the idea that technology can disseminate information about raw, very human music. The primitive is everywhere- the music business is over. We are the Jack Kerouac and Neal Cassady’s of the 21st Century – the internet is our highway.

8.       But we have no fear of the mainstream

There is great pop to love as well. We love the Beatles, modern girl pop and obscure Indian snake charmer music at the same time. We have Kraftwerk, WuTang, System Of A Down and Crass and a million others on our ipods. We love pop music and we love noise. It’s our choice.

9.       Ignore alien orders was once written on a guitar

In 2011 it would be written in cyberspace.

10.   The old models of rivalry and competition are banished

We actively encourage our readers to enjoy our comrades work in the likes of The Quietus. We are all mere portals conveying information.

11.   The first rule of this Write Club is that there are no rules

12.   Words are my weapons

The writing will be informative but also emotional. I want people who are immersed in culture and want to fire you up with their love of it.

13.   Music is one of the last things we have left

No-one owns it. We can all make it. And we can all celebrate it. It is beyond the accountant’s grim fingers.

14.   People once wanted to save the world now they are saving up to buy it

We are a break from that.

15.   We are punk

Website: http://louderthanwar.com/

Twitter: https://twitter.com/louderthanwar

Facebook: https://www.facebook.com/louderthanwarmag/

Clash

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Clash Music is a dynamic independent media group with established platforms in both print and digital media, with a diverse Live calendar that includes festivals, international music events and bespoke events organised for brands. The group encompasses Clash Magazine, ClashMusic.com and Clash Live Events.

Clash has consolidated its position as a leading UK and international title within the music, fashion and film sectors. While music continues to diversify and evolve, Clash endeavours to represent the crossover appeal of different styles and sounds. We feature the best new and emerging bands alongside established and popular acts and legends of the industry across our multiple media platforms - magazine and online; and through live events.

Clash Magazine is a multi-award winning music magazine that launched to critical acclaim in 2004, combining underground and mainstream music genres that includes fashion, film and entertainment in its subject matter.

ClashMusic.com is a definitive online guide to leading music andmusic trends – covering the best of breaking to established artists alongside news, reviews, features, image gallery and forums, in addition to a collection of the best content from Clash Magazine.

Website: http://www.clashmusic.com/

Twitter: https://twitter.com/clash_music

Facebook: https://www.facebook.com/clashmusic/

Dots and Dashes

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 Dots & Dashes is an award-winning, London-based editorial, independent music publication, concerning both the upcoming and established.

Website: http://dotsanddashes.co.uk/

Twitter: https://twitter.com/dotsanddashes

Facebook: https://www.facebook.com/dotsandashes/

 Make It in Music

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 Make It In Music (’MiiM’) is a Music Industry Resource Company set up by Ian Clifford, ably assisted by Amanda McGowan. Between us we have 30 years of frontline global Music Industry experience.

After working tirelessly to find, develop and hone young talent for many years, it became glaringly obvious to us that the young hopefuls always had the same questions and always made the same mistakes in their quest for fame and fortune. 

That quest has only become harder in the last few years with the turmoil caused by the extended death throes of the long-serving Artist and Record Company model. Nobody knows quite how the explosion of the digital age in the Music Industry (downloading, social networking, the death of the CD etc) will play out. There are theories and there are potential new models, but for now, the future is clouded.

It was always difficult, in any age, to get a band together, learn to write and play, and then attract enough attention to get a shot at success. It’s even harder now that the record companies have less money and even less room for manoeuvre. But….there are now some truly feasible alternative ways to reach your future fans and even ways to financially sustain yourself outside of the record company model. 

Some bad, and a little good then - but the same things remain true whether you try to go it alone or look to get signed. You need to work out how to be good enough and you need to find a fanbase.

It’s the lessons that we can impart to help in that quest that led to the creation of MiiM. Having worked as a music lawyer, artist and producer/songwriter manager, record label owner, music publisher, promoter and more, there are few things that Ian hasn’t seen in the Music Business. With No.1 records on both sides of the Atlantic and first hand experience in Rock, Pop, Indie, Hip-Hop and Dance (and even a little folk!) that knowledge can be transcribed to any artist in any genre. From a technical legal starting point, through the creative process, making the record and ultimately marketing it and the band to the public, we can share our knowledge of all of it. 

Amanda has more than one degree in Psychology - an immensely helpful training both in dealing with artists and also in understanding what makes people become fans. Years of on-the-road touring and street team marketing, both in the moshpit and at the front edge of the digital frontier, make the value of her insight to any emerging artist incalculable.

Website: http://www.makeitinmusic.com/

Twitter: https://twitter.com/MakeItInMusic

Facebook: https://www.facebook.com/MakeitinMusic/

 Pigeons and Planes

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 Here’s the basic idea: Pigeons and Planes is a music discovery site, brought to you by COMPLEX. It's where you can keep up with new music, across all genres and from all corners of the globe. We put you on to good music made by good artists, whether they’re established stars or rising newcomers.

We get asked what the name “Pigeons and Planes” means a lot. The idea was to incorporate two things that are complete opposites but also have something in common. In this case that common thing is flight. A pigeon is the perfect symbol for the starving artists who are trying to survive in a world that wasn’t made for them. They’re mostly ignored, mostly unwanted, and there are a lot of them. It’s a tough life, but they survive however they can and when the time comes, they take flight.

The planes represent the mainstream artists—finely tuned machines associated with major corporations, a global reach to the masses, and serious money. We could stretch this on for days, but use your imagination. Pigeons and Planes.

Website: http://pigeonsandplanes.com/

Twitter: https://twitter.com/PigsAndPlans

Facebook: https://www.facebook.com/PigsAndPlans/

Aquarium Drunkard

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 Based in Los Angeles, Aquarium Drunkard is an eclectic audio blog featuring daily music reviews, interviews, features, mp3 samples and sessions. Originating in 2005, digging globally, the Drunkard bridges contemporary sounds with vintage garage, psych, folk, country, soul, funk, r&b and beyond.

Helmed by Justin Gage, the site has since spun off Autumn Tone Records, the Aquarium Drunkard Presents series, the Lagniappe Sessions and the weekly, two hour, Aquarium Drunkard Show airing Fridays on SIRIUS/XMU (channel 35), Noon-2pm EST. Gage is a working music supervisor for film and music consultant. He authored the 2009 guide/travelogue Memphis And The Delta Blues Trail.

Noteworthy AD guest contributors include: Robyn Hitchcock, Will Oldham, Dungen, Jim James, Lower Dens, Steve Gunn, Hiss Golden Messenger, Psychic Temple, Patterson Hood, James Elkington, Mark Kozelek, Allah-Las, Spooner Oldham, Jon Spencer, Kevin Morby, Joan Shelley, John Vanderslice, Akron/Family, Steve Earle, White Fence, Anton Newcombe, Mikal Cronin, The Sandwitches, Hamilton Leithauser, Parquet Courts, Gordon Gano, J. Tillman, The Antlers, Jason Isbell, Richard Swift, The Handsome Family, Daniel Hutchens, Frida Hyvönen, Castanets, Drive-By Truckers, William Tyler, William Elliott Whitmore, Tortoise, Father John Misty, Kikagaku Moyo, The Broken West, Lucero, Horse Feathers, Rodriguez, Bowerbirds, Port O’brien, Portugal The Man, Frankel, Roadside Graves, Josh Rouse, Throw Me The Statue, The Whigs, Cymbals Eat Guitars, Fruit Bats, James Jackson Toth, James Husband, Bear In Heaven, Japandroids, The Minus 5, Megafaun, King Tuff, White Hinterland, Wolf People, The Deadly Syndrome, Dean Wareham, Frog Eyes, Doug Paisley, Everest, Lotus Plaza, The Ruby Suns, The Jim Jones Revue, Chris Cohen, Sunset, Elf Power, Bobby Bare Jr., Breathe Owl Breathe, Ben Weaver, The Autumn Defense, Robert Ellis, Hacienda, John Grant, Wooden Wand, Medeski, Martin & Wood, Skygreen Leopards, Matthew E. White, The Amazing, Porcelain Raft, Tashaki Miyaki, Night Beds, Daniel Romano, Chris Forsyth, Sonny & The Sunsets, Bobby Bare Jr., Of Montreal, Eric D. Johnson, Jolie Holland, Benjamin Booker, Daniel Bachman, Ultimate Painting, Jennifer Castle, Alex Bleeker, Diane Coffee, Jess Williamson, Ryley Walker, Gruff Rhys, Rickie Lee Jones and many more.

Interviews: John Cale, Pere Ubu, Peter Buck, Brian Wilson, Bonnie ‘Prince’ Billy, Dwight Yoakam, Alan Vega, Adrian Sherwood, Michael Chapman, Dave Davies, Nick Lowe, Robyn Hitchcock, Protomartyr, Yo La Tengo, David Crosby, Jeff Bridges, Neko Case, Träd, Gräs & Stenar, Cass McCombs, Tom Jones, Jah Wobble, Idris Ackamoor, Paul Major, Bill Fay, Mike Watt, Lift To Experience, Joan Shelley, Woods, Laraaji, Bill Vitt, Vic Chesnutt, Kris Kristofferson, Mary Timony, Terry Allen, Henry Rollins, James Elkington, Cody Chesnutt, Lou Barlow, Willis Earl Beal, No Age, Psychic Temple, Jody Stephens (Big Star), The Weather Station, Lambchop, Richard Buckner, The Olivia Tremor Control, Kevin Morby, Jim White, Silver Jews, Elyse Weinberg, John Mulaney, Matthew Sweet, Chris Robinson, The Hold Steady, Merle Haggard, Moon Duo, Joanna Brouk, Centro-Matic, K. Leimer, Alejandro Escovedo, The National, Beth Orton, The Felice Brothers, Scott Fagan, Shearwater, Howe Gelb, Real Estate, Anton Newcombe, AA Bondy, Brendan Benson, Twin Peaks, The Low Anthem, Pere Ubu, Nathan Bowles, Jay Farrar, Shirley Collins, Kaitlyn Aurelia Smith, Circulatory System, Ethan Miller, Condo Fucks, Jason Lytle, Akron/Family, William Bell, The Moondoggies, Telekinesis, Megafaun, Phosphorescent, Charlie Louvin, Castanets, Dan Auerbach, Benji Hughes, Cheap Trick, The Walkmen, Mikal Cronin, The Rosebuds, Horse Feathers, Mercyland, Blitzen Trapper, Kelly Hogan, Damien Jurado, DeVotchka, The Whigs, The Broken West, Car Seat Headrest, Quintron, Calexico, Hayden, Eric Bachmann, Patterson Hood, Arcade Fire, Whitney, Beach House, Skygreen Leopards, Portastatic, Born Ruffians, Twin Peaks, Animal Collective, The Antlers, Kelly Hogan, Foxygen, Mikael Jorgensen, Futurebirds, Lissie, The Love Language, Five Eight, Dale Murphy, Foxygen, Menomena, Corin Tucker, Destroyer, Superchunk, Beachwood Sparks, Lucinda Williams, Wooden Wand, Margo Guryan, The Growlers, Father John Misty, Chris Cohen, Steve Gunn, Hiss Golden Messenger, Chris Stamey, Angel Olsen, Camera Obscura, Bobby Whitlock, The Baptist Generals, Daughn Gibson, Van Dyke Parks, Califone, Gary Numan, William Tyler, Doug Paisley, Peter Walker, The Rock*A*Teens, Christopher Denny, Castanets, Dwight Twilley, John Lurie and many more.

Website: http://www.aquariumdrunkard.com/

Twitter: https://twitter.com/aquadrunkard

Facebook: https://www.facebook.com/aquadrunkard/

FEATURE: Armistice: Security at Music Events in the Wake of the Las Vegas Shootings

FEATURE:

 

Armistice:

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 Security at Music Events in the Wake of the Las Vegas Shootings

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STEPHEN Paddock is a name few of us…

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IN THIS PHOTO: Stephen Paddock/PHOTO CREDIT: Eric Paddock/WOFL

will forget in a hurry. Without provocation or any clear motif; the supposed gentle and quiet retired American opened fire at a Country music in Las Vegas – killing fifty-eight gig-goers before taking his own life. He wounded hundreds more and scarred everyone who would have attended that night. The chronology of the event – and the fall-out – has raised question of security at big events. If one wants to examine moral hierarchy and where Paddock falls in comparison to a terrorist; it raises a lot of questions and opens debate. Instantly, when the deaths were reported, there was that clear distinction between his actions and that of a terrorist. It is, obviously, a case of domestic terrorism but, as he was a retired gentleman not attacking the government, newspaper headlines were a lot less judgemental and accusatory. If this were a Muslim attacker who implanted himself at the event and blew up dozens of people; there would be few surprises and people labelling him a terrorist. That would be a fair assessment but there is little difference between a white, non-terrorist killing the same number of people. It doesn’t matter whether the attacker was a nice guy who snapped: it makes his crimes no less horrifying and atrocious.

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IN THIS PHOTO: Police near Mandalay Bay, Las Vegas, following the attack/PHOTO CREDIT: NBC News

Rather than provide Paddock the oxygen of publicity; it is better to look at gun control and the way we police music events. I am not suggesting we need to barricade music events and search every single human being within a five-mile radius. It is hard to say why Paddock took it upon himself to meticulously plan the spree and ensure he could not be brought to justice. It was not someone reacting in the moment and losing control: this was a detailed and thorough attack intended to eradicate as much life as his ammunition would allow – or until the Las Vegas Police Department got to his room. Who knows how many he could have killed and maimed if they had arrived later? Maybe there would have been fewer deaths had that reacted quicker? The Second Amendment of the U.S. Constitution says that anyone has the right the bear arms – that right shall not be infringed. It is clear the centuries-old Constitution needs to be evaluated and discussed. It is no good every President condemning a gun attack and saying we need to see fewer incidents – then not doing anything proactive. The gun lobbyists will always revolt and the illogical sentiments of gun owners – give up their arms and they are vulnerable to attacks; defenceless to defend themselves – has the loudest voice.

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The American police need to armed, to an extent, but that throws up issues of bias and impartiality. Why are they allowed guns and everyday citizens prohibited?! It gets tangled and litigious before we even delve into the logistics and legalities. The tragedy in Las Vegas follows from the bombing at the Manchester Arena. Many might say they are isolated events and not going to be repeated. There have been enough near-misses and close-calls to worry the average music-goer. Many would say music and the triumphalism of the fans means sounds and a common bond is more powerful than hate and terrorism – this is true, I’ll confess. It does not matter how steel-hearted and lion-like fans are: if there are insufficient security measures then future attacks can happen. I know terrorism affects more areas/locales away from music – and there are domestic incidents where many are killed – and a few incidents a year does not an epidemic make. Nobody could have seen Manchester occur but following the massacre at the Bataclan back in 2015; there should have been stringent measures put in place at ALL music venues around the world. Things have got tighter recently but I am concerned things need to get even more proactive and visible.

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IN THIS PHOTO: The Bataclan, Paris

A full-on police presence might seem alarming and off-putting for people who want to relax and enjoy music. It is a hard line to draw but we cannot be naïve and relaxed when it comes to the threat of terrorism and security. The attack in Las Vegas has highlighted how attacks are not reserved to terrorists of Muslim origin. I am attending a big concert in November and, whilst I am looking forward to it, always find myself wondering whether a rogue element can enter the arena and create chaos. It is paranoia but one can be forgiven for being overly-vigilant during these times. Does extra security and armed police create a deterrent or does it provide psychological unrest - and exacerbate nerves among those trying to filter out the possibility of violence? Again; this is a contentious debate but one that needs to be brought to the table. Paddock’s Las Vegas attack was hard to predict because we profile attackers and, given the most recent terrorist attacks, have a view of the nationalities and religions of those who perpetrate such deed. Paddock was acting alone and not part of a terrorist cell. The U.S. security services will be called into questions and asked why this man was allowed to amass an arsenal and fire at people without any warning and surveillance.

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PHOTO CREDIT: TripAdvisor

Paddock positioned himself high above the crowds in a hotel room (at Mandalay Bay) and there was no way he could have been stopped instantly. The fact he managed to get all those guns into his room and fashion a perfect environment to kill people returns to my (slightly fatuous) desire for widespread cordoning. We talk about massacres at music events because of the sheer scale of loss. A lot of fear is percolating in the music industry and, if artists and fans are reluctant about attending events, that compromises the integrity and future of music itself. On street-level, there is no way of realistic preventing all terrorist attacks. The latest vehicular-related attack in London, whilst not terrorist-related, did raise issues whether we need to secure the city better and how far we need to place measures. Attacks are more utilitarian and simplistic than they used to: homemade devices can be easily fashioned and many people are simply driving vehicles straight at people. It is easy enough to prevent any attacks we saw in Las Vegas. That was so devastating because of the proximity of the event and the hotel Paddock stationed himself in. Here, there are few big arenas where an attacker can prop themselves above. It seems extreme but having armed police at each event would create more security than fear.

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IN THIS PHOTO: Scenes outside the Manchester Arena following the attacks

If they were positioned sporadically – and any nearby hotels/vantage points monitored – that would secure the peripheries. Every gig-goer needs their person searched so any explosive devices and weapons can be detected. There would be few other ways a would-be attacker could carry out any violence. There is little we can do about our roads and public transport but, at the very least, venues need to go further with their security in light of the attacks we have witnessed in the past year. All of us live in an extreme world where violence and terrorism is becoming more familiar and common than ever before. It is not foolhardy to be over-protective if it means any potential attackers are deterred from striking. Whatever the solution is; too many people are fearful of stepping into venues and seeing the artists they love. It is not right we live in a time when the worst elements of society can claim lives and carry out their evil agenda. Perhaps there is no way to completely stop the problem but we can do something to stem the flow. I worry there will be another attack before the end of this year and, with security being at the level it is, no way of saying which concert it will take place at.

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PHOTO CREDIT: The Press Association

Most of the attacks happen at Rock and Pop concerts – where more people attend – and I wonder whether it is the ethics and message these artists are sending out that attracts a violent response. Of course, stopping them from performing is insane but there needs to be increased police at these kinds of shows. Whether we are under-resourced or stretched; it is a matter of national security and we, here, do not have the insane levels of gun violence as the U.S. The overriding spirit of togetherness and defiance takes a lot of the fear away. People are not going to be put off by attacks but, at the same time, we need to safeguard those who do go to concerts. For now, and as we carry on with our business, there needs to be more debate in parliament. I fear the current regime is not aware or that bothered about music event security but they should be. Attacks might be rare but they are not extinct. The fact they do happen should raise enough alarm bells. Our biggest music events should not be defined by fear and bloodshed: they need to be about the music, spirit and memories created by the artists we go and see. That happens at the majority of events but changes need to happen. When they do, and there is a more consistent security contingency in place; this means we can all…

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PHOTO CREDITShutterstock/KR MEDIA Productions

REST a lot easier

FEATURE: The Thirty-Second Rule: Do We Need to Drop Advertising from Music Sites?

FEATURE:

 

The Thirty-Second Rule:

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 Do We Need to Drop Advertising from Music Sites?

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THE reasoning behind the first half of the title…

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explains my opinion when it comes to advertising. We are told we should never eat food that has been dropped on the floor and remained there for longer than six seconds…or is it eight?! Anyway; we are given a very short time before it is safe to eat a hot dog that has been dropped on a carpet festooned with dog hair, rat droppings and dirt – and that is just the contents of the hot dog! It seems rather arbitrary given precise time because, for one, we never time it when we drop food and it is impossible to say exactly when a piece of food will spoil – I disregard the rule when it comes to sucking wine out of the carpet when I spilt it! My views on advertising differ, mind. We can quibble regarding the validity and purity of food – when it hits a sullied surface – but I am advocating we remove all advertising from music. One of the biggest disappointments from my time running this blog is seeing certain bands and artists give in to advertising.

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PHOTO CREDIT: Unsplash

They have promoted brands and gained money from doing something rather nauseating and sell-out. None of them has taken pride from doing that but it seems like they have no choice – money is so tight they are doing it to fund their new record. I understand there is a school of thought that suggests music can enhance adverts and bring new music to young generations. I am not a fan of music being used in advertising, either. To me, the best way to discover new music is through the old-fashioned method of self-discovery…in the sense one buys records and looks on their own. Music is great in film and T.V. and is used to heighten a scene and convey emotion. There, the intention is to score a scene – one cannot do that with silence – and it is good mixing Classic scores with contemporary songs. Things are very different when it comes to T.V. advertising.

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Here, there is no need to elevate a scene and articulate emotions dialogue cannot convey. All adverts are cheap, boring and/or embarrassing. Only a small few from history have managed to amaze the senses and stick in the memory – the fact they are flogging something like Guinness or Levi’s detracts from the artistic quality and visionary scope. I know great directors can cut their teeth/expand their C.V. directing adverts but it seems there are very few current legends. I would argue against the fact we need to have music in advertising: it is not the best way to bring music to people and is not what advertising is for. I think many assume advertising on streaming sites is a good way or bringing products and essential services to the people – that is the only rationale I can apply to that ‘logic’. I am happy to pay for streaming music on Spotify; for the sheer sense of freedom and not being harassed.

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Before then, for every song, I was subjected to a violating and irritating advert for some crap or other – I have forgotten what it is for and happy I have, too! I understand why Spotify run adverts: they want to generate money and, if someone is not willing to pay for music, that is the way they earn their cash. Many are avoiding paying for the service but how is advertising going to convince them otherwise?! The tactic is, to avoid the adverts, you have to pay to get rid of them. That is like saying the only way to stop someone poking you in the eye is to buy their brand of sunglasses! The point of adverts is to promote a service and provide information to the public. If the only reason you have adverts on your site is to get people to pay then there is something ironic about the whole thing. One of the worst things about Spotify is that, in the past, they have produced adverts (audio) that feature a woman, in harrowing detail, talk about the time she was raped.

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I don’t think it was an aimless and weird experiment: there was a service and reason why that was included on the site. Not only does one have to endure adverts but they have to listen to things that are upsetting and come without warning. Not only do the adverts feel obtrusive but they are very hard to mute and get rid of. You cannot bail and skip the adverts and, in a state of anger and distress, the user goes elsewhere or spends less time on the site. Before, one could get most of the way through an album before they had the advert pop in – now, it is, maybe, two or three tracks. I know Spotify needs to pay artists and, if they are to avoid the controversies of fair equity and compensation, that is what needs to be done. There are a couple of issues inherent. For one; I do not think advertising revenue is sufficient granted the amount of music that is streamed from the site – and the money that should be going to artists.

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Acts DO make money from the site but it seems like a paucity. One needs to generate immense streaming figures to earn a tiny bit of money. Rather than force people to watch adverts and get annoyed: there should be a campaign that outlines the bonuses of Spotify and offers new tiers of membership and payment. Rather than get people to pay annual/monthly subscription – there are problems there – get them to do it with every song they download. It seems unfair the huge stars that command millions of streaming figures, and have a lot of money already, get the same sort of cuts as everyone else – and benefit most from Spotify. I feel, as a Premium user, I still do not pay enough. I use Spotify every day and feel like I stream more than I pay for. There are some that pay a subscription fee and do not really get value. If you are a casual user – streaming a couple of tracks a month – then is it fair they need to pay what they do?!

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It seems there is a disparity between the new artists – who do not really earn anything from streaming sites – and the big artists who can easily amass money in no time. It is clear there needs to be a rethink and restructure but advertising is not the way to go about things. Everyone is annoyed by them and it is a reason why many are flocking elsewhere. There are ways advertisers can showcase their services on Spotify without it being embedded every time someone plays a song. We could have a separate section of the site that runs adverts or, for people who are using the site for free, they can be promoted to pay for what they are listening to – unless they do, they will be denied access. It seems harsh but that would get more people paying. Some do endure the adverts in the knowledge they can continue to use Spotify for free.

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SoundCloud has started to put more adverts into their service. There was a time I could navigate and play songs without that interruption but, for some artists, they have adverts included. I am not sure whether this is a conscious decision or a service SoundCloud are trailing. We know money is a premium and there needs to be more given to artists. If people are ignoring adverts, thus, missing the point of them entirely; then what is the reason for using them? The worst offender of the pack is YouTube - that is where the title of this piece stems from. Everyone is familiar with the perils of YouTube. It offers a free service but, before you know it, a song you are listening to has an advert preface. There are no markers on videos that say there is going to be an advert – it would give one the chance to mute and avert their eyes. Whereas Spotify allows the user a chance to pay to get rid of adverts: YouTube forces one to ensure any hideous advert they want to throw our way.

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Ironically, when sourcing this Variety article - the page was riddled with banners, adverts and all kinds of crap. I had to carefully click things away before I was sucked into their paid advertising.

YouTube is getting rid of one of its first paid content models: The Google-owned video site announced Tuesday that it is discontinuing its paid channels initiative, effectively killing the option to sell the content of individual channels to paying subscribers. Instead, YouTube is expanding its sponsorship model, making it available to all YouTube Gaming creators and testing it with some creators within the main YouTube app.

YouTube first introduced paid channels in 2013 as its very first move into the subscription business. Initially launched with a few dozen content partners including the Sesame Workshop, NatGeo Kids and DHX Media, paid channels allowed creators to set their own price for subscriber-only channels on the service.

However, there were signs early on that YouTube’s audience didn’t care much for these paid channels, and the initiative has since been overshadowed by YouTube’s other monetization options, including the site-wide YouTube Red subscription service. At the last count, less than 1% of creators were making use of paid channels, according to YouTube.

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One of the ways YouTube is now looking to replace paid channels is a patronage model. YouTube began testing sponsorships with select YouTube Gaming creators in late 2015, and is now making this additional revenue stream available to all of YouTube Gaming. Users can sponsor a creator for $4.99 a month, and in return get custom chat badges and custom emoji as well as access to a sponsor-only chat. Creators can even give them additional perks through third-party integrations.

The scheme they trailed has not worked but it seems fair, if you want to watch a channel or subscribe to a vlog then a small fee is not out of the question. We could all afford a fiver a year to have unlimited access to our favourite channel, surely?! Not only would the creators get revenue but we could avoid adverts.

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As it is; these channels rely on advertising so we get it shoved down the throat. What I object to is having to struggle and search endlessly to get rid of YouTube adverts. There is no easy link or button on the site that means we can block adverts. If there IS a way to get rid of adverts then why make it so hard to find?! There are few things more annoying than watching a video from, say, Jeff Buckley, and having to sit through a crappy advert for a dismal song – or a brand-new trainer, for instance. Nobody WANTS to see it and we are not going to drop what we are doing to see that advert! Most of their adverts are thirty seconds in length and some can be cancelled/skipped after five.

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That is not always the case: some last over a minute and other thirty-second adverts force you to stay with them. During this time, we all mute the advert or look away – thus, defeating the objective of running that advert. I would be more than willing to pay for YouTube as I use it every day, too. My Spotify subscription is not too high so supplementing that with a YouTube payment is not going to break the bank. I would stick with the site and am more likely to leave given all the adverts I am made to watch. The fact nobody out there likes the adverts means they are being met with hostility and objection. Like Spotify; why not introduce a payment option that gives users the chance to pay for what they watch and dispense with the adverts. The way things are being run means musicians are not being fairly paid and people are being harassed with endless adverts and stuff they do not want to see/hear. I propose getting people to pay more for what they stream/view and putting advertising elsewhere.

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PHOTO CREDIT: Unsplash

YouTube could easily have an advertising channel – if someone was sad enough to want to see adverts – and earn money that way. If users are not paying for the adverts, or buying products being advertised, then I struggle to see any logic. I suspect people’s personal details are being accessed every time they watch an advert. All of us have experienced banners and adverts flash up on Facebook – when we have watched a video on YouTube that has an advert with it. There has to be a better solution because, from the feedback I have heard, everyone wants to get things changed. Adverts are horrid and needless. Whereas music can be useful and needed in film: adverts and brands have no place in music.

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PHOTO CREDIT: Unsplash

If one does not want to pay to stream/view music then that is their issue. It is not really fair assuming they want to watch adverts in exchange for a free service. Nobody is being given the option of paying for YouTube subscription and I feel many would sign up if that option was provided. Even if an advert is a thirty-second video; it appears people, myself included, have had enough. Money can be generated from the public and advertisers can have their wares included on these sites – away from the music and in a bespoke menu/sub-site. By giving people options and restructuring the way sites like Spotify and YouTube are funded; we are benefitting the public and artists. The users deserve a hassle-free environment – if they pay for services – and the artists need greater remuneration. Let’s sort things out and get rid of adverts so the people who use these sites can…

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CONCENTRATE on the music alone.

FEATURE: The Ultimate Superlative Playlists

FEATURE:

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PHOTO CREDIT: Unsplash 

The Ultimate Superlative Playlists

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I have been very serious and angry on the past few features….

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so it is about time for something a little less aggressive and, well…FUN. I have been listening to a lot of Spotify playlists and find their recommendations somewhat mixed. I like their current Ultimate Party Playlist, but I wanted to look at a few other avenues: uplifting bangers, those sensual, beautiful songs; tracks from the best albums of the past four decades; a cocktail of stunners – and the finest songs from this year (so far).

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The Ultimate Bangers Playlist

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PHOTO CREDIT: Unsplash

The Finest Songs to Seduce

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Songs from the Best Albums of the Past Four Decades

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The Finest Music Cocktail Ever

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 PHOTO CREDIT: HOLGER LEUE/GETTY

The Best Songs of 2017

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IN THIS PHOTO: Lorde/PHOTO CREDIT: Andrew Whitton

FEATURE: Vive la Révolution! Why We Need to Bring the Spark Back into Music

FEATURE:

 

Vive la Révolution!

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 IN THIS PHOTO: Oasis 

Why We Need to Bring the Spark Back into Music

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MUSIC really sucks right now…

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PHOTO CREDIT: Unsplash

I’ll qualify that: it really sucks! I don’t mean the quality is lacking but there is not the same character and contention we had a couple of decades back. There is no getting away from the fact – nobody can argue or offer reasoned counteraction – that the 1990s were the best! I know people who think the decade’s music was overrated and poor – I hope they die of some genital infection in the very near-future. The 1990s, on the contrary, was the last time the music world was king of the world. Outside of the music business; everything in culture and entertainment seemed to be at its peak. Legendary sitcoms/comedies Friends and The Simpsons were either starting out or at their very peak – the former started in the 1990s whilst The Simpsons was at its very best in the decade. Fantastic filmmaking and the most innovative comedy ever – I haven’t even mentioned the likes of Seinfeld and Frasier – were inspiring the masses and bringing joy to millions. Politics were fraught but, luckily, by 1997; we welcomed in a Labour government – a much-needed revolt that spawned a sense of optimism in Britain. Of course, there were issues and turbulent political times; bad economic slumps and social tensions.

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That is only natural but what struck me was the quality of the music emerging. I am willing to negotiate with someone who feels the 1970s is the finest decade for music – I cannot get behind the notion the 1960s was all that. What defined the 1990s was the fact big genres and movements began then. Grunge might have originated in the late-1980s but it hit its peak in the early-1990s. Fantastic Dance music was ruling the waves and it was the last time an innocent and substantial form of Dance music was popularised. Now, there is far too much shallowness, sexuality and plastic sounds (in the genre). If one types in the words ‘best albums of the 1990s’ then you will get a sense of the treasures and moments of genius that sprung through.

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From R.E.M.’s Automatic for the People and Radiohead’s OK Computer; Beck’s Odelay and Dr. Dre’s The Chronic – masterpieces and pioneering records that changed the face of music. Take away those L.P.s and you still have dozens of records that could easily challenge for the medal places. We have seen some world-class albums over the past few years but I wonder whether, in years to come, we will look back with the same fondness that we have of the 1990s’ best. I doubt it and wonder whether technological development and changing tastes mean we cannot reclaim and match the same energy and originality. The albums I have not mentioned – from the 1990s – are Pulp’s A Different Class and Oasis’ Definitely Maybe. One can toss their follow-up, (What’s the Story) Morning Glory? into the debate. I will come to that but, looking at music from the 1990s, I am fascinated by everything from the ascension of Rap and U.S. bloc parties – everything about the culture and times is astonishing.

For me, the last great wave of British Rock/Indie was during the 1990s. Oasis, sadly long-defunct, created two of the era’s biggest records in 1994 and 1995. Oasis’ debut arrived in August of 1994 and, upon its release, was a smash. The defining single, Live Forever, seemed like a pearl dropped from the sky. The band, when discussing the album on the documentary, Supersonic explained how the song seemed surreal. Noel Gallagher walked in with it and played it to the guys. Nobody could believe it was happening and HE wrote it. Gallagher talked about writing the song and the fact it came straight to its head. It, alongside tracks such as Cigarettes & Alcohol and Shakemaker, were anthems of the time and galvanised the young. Live Forever has taken on its own legacy and life owing to its uplifting nature and inspiring lyrics.

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It was chanted at concerts then; it was chorused at Oasis’ famous Knebworth gigs – every time it is played, someone, somewhere, sings the track. It is a moment of defiance and seizing the moment. The song does not care about conversation and pointless details: it is about living for the day and having a great time. Oasis, by the time of (What’s the Story) Morning Glory? has established themselves as one of Britain’s most important bands. They stood toe-to-toe with Blur – their infamous Britpop battle of 1995 gave Blur the victory – and were seen as the great working-class band of the day. Oasis’s second album pushed Indie music into the mainstream and changed the nature of Rock. Gone were the leather trousers and posing heroes: in were light ballads and huge songs that has an actual message. By the time the band split – 2008’s Dig Out Your Soul was their final album – their best days were behind them. It is sad the band ended but it was inevitable. They had, in their career, cemented something unbreakable and shown what was possible.

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Those early albums were the zenith and apex of working-class Rock truth and, alongside contemporaries Pulp, Oasis were talking about what was happening in society. Pulp’s album, Different Class, released in 1995, talked about common romance and class mismatch; drugs and modern youth – art and culture in all its forms and flirtations. Jarvis Cocker, the pencil-thin poet and beguiling frontman, detailed the nuanced and complex rhapsodies tangible in the working-class suburbs. Flirtations, late-night liaisons and marital disharmony was laid out in a rich and tapestry-like tableau that brought together so many different sounds, stunning vocals and quotable lyrics. Different Class embraced the Britpop spirit but was a true and unflinching insight into the working-classes and the realities in Britain. There were other albums of the time that did this but few as effectively and hypnotically as Different Class. Maybe Cocker is that once-in-a-lifetime writer but, as Oasis showed, it was possible to have other artists articulating the flesh and bones of a less-glamorous lifestyle.

Oasis were the more bombastic, accessible option: Pulp, the poetic and intellectual counterbalance. Both bands were spearheading a countercultural movement – one where preening fakes and facile music was part of the landscape. “We don’t look the same as you” goes Different Class’ opening track, Mis-Shapes. That was a perfect distillation of Pulp in the music industry. Whilst there was a lot more industriousness and quality in the scene back then: the sort of music Pulp were putting down seemed foreign and a bolt of lightning. I bring these examples in because we live in the most tense and precarious time in recent memory. I was alive during the mid-1990s and do not remember the world being as fractured and toxic as it is now. The Labour government didn’t come in until 1997 but, until then, there was the need to revolt and restructure the government.

It seemed like politicians were not speaking for the masses: today, that is heightened and underlined with every crooked speech and fake promise. Terrorism is an ever-present threat – including a possible attack on London today – and the U.S. President (Trump) is leading the world towards a nuclear apocalypse. Having a raving derelict helming the world’s most powerful nation would be enough to provoke a Pulp/Oasis-like attack: the fact we have a hopeless Prime Minister making our decisions should steal the deal. Throw into the mix climate change/disintegration and terrorism; sexism, racism and the prevalence and negative impact of social media on human relations – rich pickings for a modern-day orator to shape that into an epoch-defining record, no?! One would think that is enough fuel and impetus to lead a sonic attack. I, for one, would get behind a record that tackled these themes and tried to connect the people together. I know there are some incredible Rock/Indie acts like Wolf Alice and IDLES – who have a political and social bent in their music – but there are few, if any, who have the populist edge and skillset of the 1990s’ best.

I guess, as I speculated at the top, the scene has changed so we cannot duplicate the same majesty and sensation we had in the 1990s. The reason albums like Different Class and Definitely Maybe struck a chord was the fact they were new and inspiring. They brought the people closer and said what few other records did – at a time when the nation needed true guidance and compelling messages. Our world is more dented and anxious than it was back then. We need a modern-day Common People (Different Class) or Live Forever to get the music industry on a track it needs to flow. I know music does not have the power to change the system and remedy all the evil being felt and seen around the globe.

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What I know, for sure, if the fact music has the strength to elevate lives and eradicate pains; compel other like-minded acts to do something different and try and make a difference. In a time when our current government is hanging by a thread: one feels a well-timed and definitive record could be the difference! The only way we are going to bring about a true vein of quality and progression is questioning the current system and the values we hold dear. The mainstream is a weak and gossamer-thin cobweb that still proffers the hollow and vacuous. Rock is not dead but it needs a serious loan of purpose: bands and artists coming along and steering it clear of icebergs. Away from that; we have great albums/music but what is lacking are the huge artists who genuinely made a change. They do not have to talk about the working-classes and northern life – what it is likely living on council estates and navigating a labyrinth of social misconstructions and hopping-over-the-fence romantic escapades. In those albums; one could immerse themselves in something fantastical, evocative and brilliantly alluring. Now…where are those artists?!

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IN THIS PHOTO: One of the most promising bands of the moment, IDLES/PHOTO CREDIT: Crack Magazine

I do not believe we have gone too far the other way and the 1990s’ peaks were a product of the time. Every musician has the opportunity and means to record an album; the times we live in are crying out for the common philosophers and anthem-penning heroes/heroines. The production sounds would not be the same as they were back then but that is the only thing that has changed. Many are disincentivised creating something that strikes against the government and steps off the garden path of love-and-romance-with-a-side-order-of-self-flagellation. That would be awfully risky and one would not like to risk their record deals and Spotify streaming figures! The unsigned artists are doing their best to have their say but I am worried their progressions and procession will be delayed by the clogs in the system. Change can only come about when artists take a stand and do something radical.

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There is that desire in the public and I wonder how many reflected rumblings are detectable in the dressing rooms of the music scene?! Times are bad and music has a role to play. I do not want to listen to music that is escapist and deflects away from the real issues on the table. I want to see that cocksure rebellion where musicians speak about working-class struggles and political stupidity; the less-heard elements of romances and the way the world is unfolding. I think, only when that happens, can we truly call the music industry – the sounds we hear; I think sexism and other issues will not be eradicated that easily – truly progressive and inspiring. We do have a few artists who provide hope and promise but, when you consider how many musicians we have in our midst, that is really…

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PHOTO CREDIT: Unsplash

NOT good enough.

FEATURE: Resident Needle: Vinyl and the Art of Community

FEATURE:

 

Resident Needle:

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 Vinyl and the Art of Community

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THE title might confuse those who…

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are expecting a mash-up of a record and the established video game/film franchise, Resident Evil. Although the pun has no connection with anything gory or gaming: I wanted to look at the way record shops, and the best out there, are promoting a sense of community and conversation. In fact; the first word in the title refers to Resident. Whether you name the store ‘Resident’, ‘Resident Records’ or ‘Resident Music’ – it is a must-visit for anyone with even a passing interest in music. I will mention other record shops but for me, tantalisingly close to Brighton; I make the trip down to Kensington Gardens, Brighton to get myself into the place. Recently, in a feature conducted by VR; Resident was deemed the seventy-sixth record shop in the world – not too shabby when you consider the sheer wealth of alternatives around the globe. Before I offer my own thoughts; I’ll provide exposition from the piece:

What’s the story? Resident is a record shop that proves you don’t need gimmicks, flash marketing or an “angle” to be a great record shop. Doing the basics better than most, Resident opened its door in 2004, the brain child of Derry Watkins & Natasha Youngs, who first met stacking the CD shelves of the local Virgin Our Price where they worked.

Now husband and wife (what better indication of the shop’s love for music could you want?), the pair set about drafting a more independent alternative in the city, evolving to stock a huge selection of genre- and generation-less new music, catalogue titles and tickets to local gigs, some of which take place in the shop itself.

Located on North Laine, the shop doubled in size in 2015 as Resident moved in next door too, expanding its vinyl offering which is now staffed by 12 employees who also help oversee informative newsletters, a vibrant online shop and the end of year ‘Resident Annual’, collecting the best new albums from the last twelve months.

In short, Resident is about as prime an example of independent spirit that you’ll find, a shop that reflects and represents the best of the town it inhabits”.

The North Laine-appointed store, looking at it from the outside, is perfectly situated in one of Brighton’s thriving side-streets. Off the commercial and rather ordinary high-street chains – and rising homelessness, too – one finds a cleanliness, character and colour when traversing the legendary Laines. It is rather fortuitous, for me and many, Resident is located directly opposite another of Brighton’s treasure troves: the majestic, I-could-easily-blow-a-year’s-wages-in-ten-minutes-flat-mate, Snoopers Paradise.

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I always, rather neridshly, find myself singing Coolio’s Gangsta’s Paradise when nearing the shop – and I haven’t been committed, yet! – and it is somewhere I could quite happily bankrupt myself in. One enters a Narnia of bric-a-brac and vintage clothing: old records and 1940s/1950s homeware – a veritable bounty of bygone treats and must-have wonder. When one staggers out, blinded by an empty wallet and multitude of seducing images, there is Resident waiting across the way – one wonders whether that was a cunning tactical move when it was opened! Once one is through the doors of the city’s best music shop – and one of the world’s finest, as we have seen – you are in the presence of people who really know what they are doing. There are few peripheries and baubles adorning the walls (a lot of record shops tend to paper the walls with posters, memorabilia and crap; it distracts the punter from the business of buying) and the colour-scheme is tasteful and calming. One sees a mixture of whites, blacks and paler greens – you can tell I’m a bloke because I cannot find a word to describe the gradations and shades of colour (even though black and white are not true colours). The store is arranged so the C.D.s are in the right-hand area (as you walk in) and the serving area/tills are in front – one has plenty of space to roam and browse in a large and welcoming environment. Since its expansion a couple of years back; it has allowed the shop to do what it does best: provide the most comprehensive selection of vinyl this side of the M25.

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Nick Cave has been heard yelling down “Resident is the best fuck*ng record shop in Britain!” I am not sure whether that is fabled or reliable intel but I can well see it. The man lives nearby and knows his vinyl! That should be proof and testament enough – the fact of the world’s greatest-living songwriters gives it his loud, expletive-ridden seal of commendation! Rather than write a passion-piece about my favourite record shop: instead, a look at how Resident, and other brands, manages to bring people in through a number of different methods. Of course, there is the sense of selection and availability. When I go into shops like Resident; not only do I find the album I was going in there for – there are those weird and wonderful L.P.s and long-forgotten rarities. They do 7” singles and far-out records – catering for those who like it rare, whacked-out or away-from-the-mainstream.

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PHOTO CREDITAshley Laurence

There is, in essence, an emphasis on quality and refinement. One will not see crappy Pop albums and naff 1980s Hair Metal festering the shelves there! I love local record shops but find they rely too heavily on the second-hand offerings of their clientele. When one gets in the shop, they are cramped and struggle to move down the aisles. They should hire osteopaths and chiropractors because, after ten minutes of flexing, bending and clambering – one's bones and skeletal composition is compromised and traumatised. I have never been in Resident during an in-store or signing. I can imagine there is a bit of a squeeze but, during the week/weekend, one can time it so they can move around without behind violated. The sort of people who go to record shops are serious music-lovers and not your casual browsers. They want a space they feel comfortable in and are not forced to hurry along and move out the way. It is great the Brighton hotspot has doubled since its opening. I have not been for a few years but I definitely notice the difference.

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PHOTO CREDIT: Pixabay

The sheer sense of space is one of the reasons it has such a loyal fanbase. As I said; the selection is immense. I have, in the past few months, armed myself with some terrific records and, in one case, spent more than I was intending to! One of the criticisms of shops like Resident is the fact the produce is so expensive! Vinyl needs to appeal to new generations but is it feasible when the average album can run you close to twenty quid – in many cases, one can shell over twenty-five quid or more for a single album. If one goes to Resident’s homepage or visits their Facebook page - then you can keep informed of all the latest happenings and developments.

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IN THIS PHOTO: Wolf Alice

I shall return to the issue of cost and economy but one of the best things about Resident, and all good record shops, is the way they bring artists and people together. Despite a convivial and calm atmosphere; it can be quite sterile and studious flicking through stacks of immaculate vinyl. One needs something engaging and interactive every now and then. Kelela’s new album, Take Me Apart is Resident’s Album of the Day so, if you want to snap that up, you can. Whilst there; have a look at what is coming up – the staff are very approachable and happy to discuss things happening in the shop. I was kicking myself I missed the recent – and much-discussed – in-store from Wolf Alice. The live performance from artists is a reason Resident is so well-regarded. The band’s just-released gem, Visions of a Life, has gained spectacular reviews and could well top the end-of-year lists in a couple of months. The fact they have managed to craft something so essential and visionary on their second attempt shows they are one of our best bands.

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PHOTO CREDIT: Unsplash

Having them in your store is an honour and I wondered how their sound came across in a relatively modest space – listen to their album and there is plenty of howling strings, bombast and moshpit-worthy thrashes. I saw photos from the gig and Ellie (Rowsell) and chaps, at points, were sat on the counters playing. It was very ‘cosy’ but, from the reviews, they turned in a blinding set. The North London quartet is one of many who are/will walking/walk through the doors. There are some other sets happening before the end of the year; so it is definitely worth following the store when you can. What impresses me about record shops like Resident is the fact they have a passion for live music and discussion. I find streaming is too impersonal and one does not really discuss their downloaded album with someone on the Internet.

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PHOTO CREDIT: Unsplash

Music is becoming more processed and faceless as the years tick by: ensuring we have traditional record shops expanding is an encouraging antidote to the rise and ruination of digitisation. I go into record shops and feel there is a real, instant mini-community. Customers shoot the breeze with others – even if they have not met – and, considering few of us randomly converse with people on the street, we can walk into a record shop and guarantee we connect with another human being. It is a shame there is not (even more) room for Resident as, building on that, they could craft something that mixes a café/salon but has the records at its heart. Maybe that sounds corporate and unwieldy but I would be happy to sit in the store – buying, of course – and engage with others in a more relaxed and seated setting. I don’t know about the logistics but I am pleased record shops, the best out there, make you feel open and lacking inhibitions.

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PHOTO CREDIT: Unsplash

The idea of an eighteenth-century-style coffee shop – where noblemen and the common could debate poetry, politics and the proletariat – are long-dead but, as we get sucked into the yellowed jaws of the machine…record shops are one of the final bastions of cultural conversation and musical discourse. Sure; gigs are where we can do the same but how many shops/coffee shops will you frequent and be able to discuss music and live gigs – without feeling as exposed as if you had your nipples swinging in someone’s face?! I have been to stores like Rough Trade East and Flashback Records and get the same impression: people do not cloister themselves and balkanise; there is that desire to link-up with passing trade and provide their own insights into records we should own. It is a unique setting that needs to survive – now more than ever before!

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IN THIS PHOTO: Rough Trade East (London)

All Age Records and Casbah Records provide different-sized settings and their own flair. If you are in the capital; check them all out and get involved. I worry the idea of a traditional, old-fashioned (if that is fair?!) record shop will be a dying breed. If we want to see the form out of captivity and preserved for decades to come: rent prices need evaluating and these small businesses require a guarantee of guardianship and security. That will not happen under the Conservative government but if/when Labour get in; one expects them to tackle these issues and ensure the high-street’s best record shops do not fall prey to scrupulous landlords and the perils of gentrification. The finest record shops around the country are those where rent is manageable and the flow of customers is steady – a slight tear in that delicate fabric could see their hoardings boarded and the doors closed forever.

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I am worried the best record shops around are no safer than your average shop. It is a depressing thought but, rather than stress about fiduciary ideals, let us promulgate the multifaceted joys of the humble record stores. If the likes of Resident are able to have empirical ambitions – doubling in size is something few retail outlets can boast! – whilst retaining modesty and the comforting position they hold in Brighton (nestled among a string of wonderful shops and businesses) then that is the best of both worlds. The fact they, and their vinyl neighbours, are mixing the finest shopping experience with live gigs and in-store events mean the record store is preserving its multifunctional, community-based ethos. That is hard to do in a modern-age: space is limited and people are relying on the Internet for sociability and ‘human’ connection. Perhaps I am naïve thinking record shops could grow into a one-stop place for conversation, music and performance – essentially, turning them into live venues and café-type settings; disintermediate the big businesses and utilise the space they have. Venues are threatened and fewer music-based options are visible on the streets.  

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IN THIS PHOTO: The Maccabees played an intimate gig at Resident back in 2015/PHOTO CREDITAshley Laurence

The fact Resident has been awarded honours and virtual decoration may seem soporific to those not familiar with the wonders of records. Those who know their music, and realise how capricious and fragile the industry is right now, are eager to champion their local record stores and ensure their future is beyond contention. For me, the best record shops are a place one can indulge their passions and discover brand-new and older music. You can have a chat with a fellow shopper and talk to the staff about the week’s releases – and those rare gems other, mainstream music shops do not stock. If we devalue the relevance of record shops then we are threatening the physicality and human touch that is inoculated and purged from the current climate – where we want our music streamed, downloaded and available right in front of our (square) eyes.

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PHOTO CREDIT: Sound Matters

The special population of (passionate) music-lovers know wherefore I speak and can, I hope, relate to the nuances and functionality of record shops. They are more than mere places one can buy records: they are habitats one can feel a sense of belonging in; a bespoke arena where one does not feel a tit when they argue which Kate Bush album is the best (The Kick Inside, of course!). On top of this, if you are in the right place at the right time – if anyone has a time machine so I can see Wolf Alice?! – you can witness a great in-store that will remain in the hippocampus for years to come. These are sacred and quintessential pleasures that we all need and should…

NEVER let go of!

FEATURE: Headphones On, Earphones In! Ten Great Podcasts and Audiobooks for a Busy Commute

FEATURE:

 

Headphones On, Earphones In!

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 PHOTO CREDIT: Unsplash 

Ten Great Podcasts and Audiobooks for a Busy Commute

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MUSIC is not only about the songs and albums…

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PHOTO CREDIT: Unsplash

we hear from artists. That would be one-dimensional and limited: there are some wonderful music-related podcasts from all avenues of the globe. I am a huge fan of Desert Island Discs and, whilst it is an interview-based format; it does incorporate a ‘castaway’s’ eight chosen records – those songs they would take to an island, were they stranded. There are so many options out there for the music lover and radio listener. Whether you want a band archive or interview series; a D.J. stepping into new territory or a podcast that keeps you updated with the latest musical happenings – one is hardly stuck for options!

I collate ten awesome podcasts/audiobooks everyone should investigate...

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Steve Lamacq’s Roundtable

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PHOTO CREDIT: Dean Chalkley/BBC

Lammo’s Thursday Roundtable is, as the title suggests, a place where one can get the latest hot vibes and musical tips – three guests come in and review the upcoming releases and recent albums. Each episode is available to download following the broadcast: a quintessential show that incorporates a variety of genres and musicians; all discussed with passion and depth.

Follow: http://www.bbc.co.uk/programmes/b00p4l4t

XLR8R

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The XLR8R podcast features the best producers and D.J.s creating fine mixes. It is a brilliant place one can discover hidden gems and rare treats – some last-minute music choices and party-savers! It has been going for a while now but always manages to keep its followers enticed and fulfilled!

Follow: https://www.xlr8r.com/podcasts/

Dissect

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This is the most streamed/listened-to podcast for the serious music-lover. It is, as they say in their own words:

Dissect is a serialized music podcast. In a world creating and accessing more content than ever before, we’ve quickly become a scrolling culture, hurriedly swiping through this infinite swath of content that seems to replenish without end. Dissect was created to counter this cultural shift. We’ll step outside our new consumption habits and take our time analyzing pieces of music measure by measure, word by word in sometimes painstaking detail. To appease our new consumption habits, we’ll break up our analysis into short, easily digestible episodes”.

Follow: https://dissectpodcast.com/

Shaun Keaveny’s Not So Simple

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The title might be bitterly ironic – just kidding, obviously! – but, here, is another BBC Radio 6 Music stalwart who brings us something wonderful and enriching. Unlike Lammo; this is less music-orientated and, instead, sees Keaveny interview experts in biology, psychology; economics and business – audio extracts from their upcoming works are featured; the guest is given oxygen to discuss their careers and bond in a unique crucible. Keaveny, an adept and skilled comedian/D.J., provides an accessible and warm-hearted route into areas of society few of us have investigated – a must-hear for your ears!

Follow: https://soundcloud.com/user-347937138

Desert Island Discs

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The aforementioned Desert Island Discs is an institution and a Sunday fixture for many. Each week, a guest discusses their choice of eight discs with Kirsty Young – there have been other presenters but she is the current incumbent – and they, at the end, have to select the one record they’d save from the waves. They also select a luxury item to take and a book – they get the Bible and The Complete Works of Shakespeare to have already – and contemplate life on the island. Guests are taken from the world of science, business; music, film and, well….anywhere. Over its seventy-five year history; the show has included countless castaways who have given us hours and hours of entertainment.

Follow: http://www.bbc.co.uk/programmes/b006qnmr

Song Exploder

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This series puts the microscope over a song and dissects it in great depth. It is a forensic approach to music but one that unravels the anatomy and lineage of that track. Host Hrishikesh remains unobtrusive as a guest talks about the song, in-depth, and how it was made. There is a range of genres and sounds – each edition offers something new and unexpected.

Follow: https://twitter.com/songexploder

No Jumper

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The so-called “Coolest podcast in the world”; No Jumper, hosted by Adam22, started life building his own BMX community and empire. His trajectory into music started with late-night sessions on SoundCloud- where he discovered the brightest Hip-Hop stars and those under-the-radar artists. A lot of the rappers featured do not get interviewed much: the warm and convivial style of interviewing leads to a very candid, revealing and engaging.

Follow: https://www.youtube.com/channel/UCNNTZgxNQuBrhbO0VrG8woA

Showstopper

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This is a Spotify original podcast and one that looks at how music has impacted big television shows. Over its course; it has interviewed music supervisors from the likes of Breaking Bad and The O.C. Host Naomi Zeichner highlights the pivotal nature and effect a great soundtrack can have on a show – and how certain tracks can gain a new lease after being featured in T.V. shows.

Follow: https://open.spotify.com/user/spotify_in_residence/playlist/22q0S2C0SxQAA70MLp82xM?utm_source=twitter&utm_medium=social&utm_campaign=spotify_social_us_showstopper_bb_2017_social&gtm=1#_=_

Listen: http://www.slate.com/podcasts/showstopper.html

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PHOTO CREDIT: Tuan Tran/Moment/Getty Images

The Future of What

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This series wonders whether radio still matters. Are downloads the way forward and what is the future of music licensing – host Portia Sabin speaks with those industry experts who chat about trends, realities and insights into the music industry. It is a useful guide for anyone looking to forge a career in music.

Follow: https://soundcloud.com/thefutureofwhat

This Song

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KUTX’s This Song asks a guest whether a song has changed their lives. The likes of Run the Jewels have sat down with Elizabeth McQueen to talk about songs that have changed their life – why that is so and the impact the track continues to have. It is a way of slowing things down and exploring a song in huge depth and detail.

Follow: https://www.stitcher.com/podcast/kutx-this-song

FEATURE: Heartbreakers: The Legends We Have Lost This Year

FEATURE:

 

Heartbreakers:

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 IN THIS PHOTO: Tom Petty 

The Legends We Have Lost This Year

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IF one could invent a contraption…

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where we could preserve musicians for a set amount of time – I am sure many would scrabble to invent the thing! Last year was a particularly bad one for high-profile musician deaths. We had to say goodbye to the likes of David Bowie, Prince and George Michael. This year has not exactly been a fantastic one, either. On 18th March, Chuck Berry left us and, with it, we had to say goodbye to one of the true pioneers. His death was, perhaps, not that unexpected: he was in his nineties and had lived a full and eventful life. Even so, it is difficult accepting he will not be around anymore. Chris Cornell’s death in May was, perhaps, one of the most shocking of this year. Few could have anticipated what was going to happen – his death took everyone by surprise. It was ruled Cornell died through hanging: a suicide that affected many and took one of the greatest living musicians away.

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IN THIS PHOTO: Chris Cornell

For me; his death was especially sad and shocking. I was not aware the turmoil and pain he was living in. I knew, during his early Soundgarden days, he was speaking about depression and anxiety with candour and openness. One looks at a musician and assumes their private life is happy and okay – we never see behind the closed doors and what goes on. It is desperately harrowing that Cornell died. Greg Allman, known for his work with the Allman Brothers Band, died on 27th May at age sixty-nine. The Nashville-born artist inspired a new generation of artists to get into music. The Allman Brothers Band made a huge impression and one of its founders, not being here, is a very sad thing. On 20th July, two months after Chris Cornell’s suicide, came another blindsiding loss: Linkin Park frontman, Chester Bennington.

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IN THIS PHOTO: Chester Bennington/PHOTO CREDIT: Tibor Bozi/Redux

Here, like Cornell, was someone who addressed his depression and psychological issues through music and urged fans to speak out. His death came as a kick in the stomach and broke many hearts. Hours before his death, a video emerged of the frontman smiling and laughing with his family. It showed how hard it is to detect someone in trouble and in need of help – the complexities and hidden depths of a terrible illness. Rather than lament and mourn heavily: one looks back at the music of Bennington and how many people he influenced. Bands have formed because of Linkin Park so the contribution he made to music cannot be underestimated. On 8th August, aged eighty-nine, Glen Campbell departed the world. Few of us who love music can avoid the sheer majesty and importance of Campbell’s work. Rhinestone Cowboy and Wichita Lineman have become standards and show what an immense voice Campbell had – one of those artists that get into the heart and stays there forever. Adiós, his final album, was released shortly after his death and completes a stunning and legendary career.

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IN THIS PHOTO: Jessi Zazu

Jessi Zazu, the lead singer of Nashville-based group Those Darlins, died on 13th September. She was twenty-eight and lost her fight with cervical cancer. The band’s unique blend of Punk, Garage-Rock and Country won them legions of fans – the band released three albums since their formation in 2009. Walter Becker, perhaps, is the single-most-tragic death of the year. I am a huge admirer of Steely Dan and followed their career since I was a child. Deacon Blues (from 1977’s Aja) is my favourite song ever and I count Pretzel Logic – their third album – among my top-twenty. Walter Becker, alongside Donald Fagen, brought Steely Dan to the masses and created an arsenal of timeless songs – from Hey Nineteen and Reelin’ in the Years to My Old School and The Boston Rag.

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IN THIS IMAGE: Walter Becker/PHOTO CREDIT: James Leynse/Corbis (via Getty Images)

Steely Dan’s cutting and sardonic lyrics – intellectual and poetic – were matched with nuanced compositions and exceptional musicianship. Walter Becker was one of the reasons why Steely Dan managed to affect and seduce so many people. A one-of-a-kind musician and kind-hearted human – people are still affected by his death. Soul singer Charles Bradley died on 23rd September after suffering from stomach and liver cancer. He was sixty-eight and it seemed, at one point, he would be okay. We all heard news about the diagnosis and the fact he had to stop performing. When he was better; many assumed he was over the worst of it. That was not the case and, tragically, he left a big hole in the world of music. The ‘Screaming Eagle of Soul’ and that planet-shattering voice will not see any equals come forth, that is for sure. One of the big reasons for this piece – and a recent death that is still very raw – is the loss of the legend that is Tom Petty.

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IN THIS PHOTO: Tom Petty and the Heartbreakers

One need not explain why he is 2017’s greatest losses. The Heartbreakers lead, through the years, penned all-American anthems that we all know and love. Petty suffered a massive cardiac arrest on 2nd October and could not be saved. Petty was born in Florida where he met future bandmates Mike Campbell and Benmont Tench. They initially formed a band called Mudcrutch: luckily, when they reformed, that was changed to the Heartbreakers; that changed to Tom Petty and the Heartbreakers by 1976. I have included Petty’s best-known songs in the playlist below but we can all easily relate to peals such as American Girl and Runnin’ Down a Dream. To me, Petty will always be one-fifth of the ultimate supergroup, the Traveling Wilburys. Featuring Roy Orbison, Jeff Lyne; George Harrison and Bob Dylan – an assembly of some of the world’s finest and most influential artists. The band’s debut album, Traveling Wilburys Vol. 1, remains one of my favourite ever.

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IN THIS PHOTO: The Traveling Wilburys

Each member brought songs to the album – except for Orbison – and Petty is credited with writing Margarita and Last Night – two of the best songs from the record. The rest of the band contributed lyrics to the songs but Petty injected his input into the other members’ numbers. It was a collaborative effort among friends and a fantastic collection of musicians. I cannot think of another band that boasts so many heroes and legends in its ranks. Petty was an integral cog and, with his solo career, made a huge impact on music. In interviews; that drawled and rich voice made you smile and settle – a man who could ease any pains with a few syllables. The way Petty spoke about music meant passion and knowledge emanated from every word.

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His endless hunger and innovation influenced musicians to pick up a guitar and write – the likes of Dave Grohl count Petty as an idol. There are many more who owe their careers to the American great. His death is, perhaps, the most shocking of this year – let’s hope there are no more! It shows how fragile and unpredictable life can be but, rather than wallow in sadness, a perfect time to listen back to Petty’s catalogue and what he gave to music. 2017 has seen some incredible musicians leave us. I have included a playlist that collates the best songs from the artists I have mentioned. Of course, other musicians have died this year – their absence no less sad and affecting than any other. As we go through the autumn and winter weeks; we can reflect on those artists that have gone and celebrate their incredible music. Whilst they might not be with us; it is obvious their fantastic music…

WILL endure for many years to come.

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FEATURE: Songs in Slow Motion: The Best Music Documentaries Ever

FEATURE:

 

Songs in Slow Motion: 

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IN THIS PHOTO: Janis Joplin (the focal point of Janis: Little Girl Blue)

The Best Music Documentaries Ever

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WE often concentrate on the musician…

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IN THIS PHOTO: Tupac Shakur (who featured in the documentary, Biggie & Tupac)

without considering where they came from and what makes them special. The music documentary allows rare insight into an artist’s life and what goes into the music. The best and most tasteful documentaries are never exploitative and crude: they are deal affectionately with the subject and feel no need to obscure the truth.

I have been thinking about the best music documentaries through the years and have assembled, what I feel, are the finest examples of the breed.

(Thanks to Wikipedia for supplying the information about each documentary)

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Amy (2015)

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Subject: Amy Winehouse

Director: Asif Kapadia

About:

Amy is a 2015 British documentary film about the life and death of British singer-songwriter Amy Winehouse. Directed by Asif Kapadiaand produced by James Gay-Rees, George Pank, and Paul Bell and co-produced by Krishwerkz Entertainment, On The Corner Films, Playmaker Films, and Universal Music, in association with Film 4. The film covers Winehouse's life and her struggle with substance abuse, both before and after her career blossomed, and which eventually caused her death.

In February 2015, a teaser trailer based on the life of Winehouse debuted at the pre-Grammy event in the build-up to the 2015 Grammy AwardsDavid Joseph, CEO of Universal Music UK, announced that the documentary entitled simply Amy would be released later that year. He further stated: "About two years ago we decided to make a movie about her—her career and her life. It's a very complicated and tender movie. It tackles lots of things about family and media, fame, addiction, but most importantly, it captures the very heart of what she was about, which is an amazing person and a true musical genius."[4] The film was shown in the Midnight Screenings section at the 2015 Cannes Film Festival[5] and received its UK premiere at the Edinburgh International Film Festival.[6]

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Subject: Oasis

Director: Mat Whitecross

About:

Oasis: Supersonic[2] is a 2016 British music documentary directed by Mat Whitecross. Asif Kapadia and James Gay-Rees, already awarded with an Oscar for the film Amy, worked on this film respectively as executive producer and film producer.[3][4][5] The Production Companies associated with the film are Mint Pictures, Nemperor and On The Corner Films and is distributed in the UK by Entertainment One and Lorton Distribution.[6]

The film details the history of the Britpop band Oasis during their formative years and the height of their success in the 1990s, featuring off-screen interviews with members of the band and people associated with them, set to archive video of concerts, contemporaneous interviews and backstage footage.

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Subject: Kurt Cobain

Director: Brett Morgen

About:

Kurt Cobain: Montage of Heck (also billed as Cobain: Montage of Heck)[1] is a 2015 documentary film about Nirvana lead singer Kurt Cobain. The film was directed by Brett Morgen and premiered at the 2015 Sundance Film Festival. It received a limited theatrical release worldwide and premiered on television in the United States on HBO on April 24, 2015. The documentary chronicles the life of Kurt Cobain from his birth in Aberdeen, Washington in 1967, through his troubled early family life and teenage years and rise to fame as front man of Nirvana, up to his death in April 1994 in Seattle at the age of 27.

The film includes artwork by Cobain as well as music and sound collages composed by him. Much of music and sound collages were released on the film's soundtrack, Montage of Heck: The Home Recordings. A companion book was also released containing animation stills from the film as well as transcripts of interviews, photographs, and Cobain's artwork that were not featured in the film.

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Subject: Daniel Johnston

Director: Jeff Feuerzeig

About:

The Devil and Daniel Johnston is a 2005 documentary film about the noted American musician Daniel Johnston. It chronicles Johnston's life from childhood up to the present, with an emphasis on his experiences with bipolar disorder, and how it manifested itself in demonic self-obsession. The film was directed by Jeff Feuerzeig and produced by Henry S. Rosenthal.[1]

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Subject: Bob Dylan

Director: D.A. Pennebaker

About:

Dont Look Back is a 1967 American documentary film by D. A. Pennebaker that covers Bob Dylan's 1965 concert tour in England.

In 1998 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In a 2014 Sight & Sound poll, film critics voted Dont Look Back the joint ninth best documentary film of all time.[1]

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Subject: Janis Jopiln

Director: Amy J. Berg

About:

Janis: Little Girl Blue is a 2015 American documentary film directed by Amy J. Berg, about the American singer-songwriter Janis Joplin. It was shown in the TIFF Docs section of the 2015 Toronto International Film Festival.[3]

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Subject: ‘Rodriguez

Director: Malik Bendjelloul

About:

Searching for Sugar Man is a 2012 Swedish–British documentary film of a South African cultural phenomenon directed and written by Malik Bendjelloul which details the efforts in the late 1990s of two Cape Town fans, Stephen "Sugar" Segerman and Craig Bartholomew Strydom, to find out whether the rumoured death of American musician Sixto Rodriguez was true, and if not, to discover what had become of him. Rodriguez's music, which had never achieved success in the United States, had become very popular in South Africa although little was known about him in that country.

On 10 February 2013, the film won the BAFTA Award for Best Documentary at the 66th British Academy Film Awards in London,[2] and two weeks later it won the Academy Award for Best Documentary Feature at the 85th Academy Awards in Hollywood.[3][4]

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Subject: Sex Pistols

Director: Julien Temple

About:

The Filth and the Fury is the second movie Julien Temple made about The Sex Pistols. His first effort was The Great Rock and Roll Swindle, which was released in British cinemas on 15 May 1980. This earlier effort was heavily criticised for being too skewed towards the Pistols' manager Malcolm McLaren's version of events about the band.[citation neededThe Filth and the Fury tells the story from the viewpoint of the band members themselves (albeit in silhouette during their contemporary interviews).

The title of the film is a reference to a headline that appeared in the British tabloid newspaper The Daily Mirror on 2 December 1976 after an interview on ITV's Today presented by Bill Grundy. The title of The Daily Mirror article was itself inspired by William Faulkner's novel The Sound and the Fury which was in turn taken from a line in Shakespeare's Macbeth.

Temple's documentary charts the rise, decline and fall of the Sex Pistols from their humble beginnings in London's Shepherd's Bush to their disintegration at the Winterland Ballroom in San Francisco. Temple puts the band into historical context with Britain's social situation in the 1970s through archival footage from the period. This film was seen in some ways as an opportunity for the Pistols to tell their side of the story, mostly through interviews with the surviving members of the group, footage shot during the era, and outtakes from The Great Rock and Roll Swindle.

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Subject: Buena Vista Social Club

Director: Wim Wenders

About:

Buena Vista Social Club is a 1999 documentary film directed by Wim Wenders about the music of Cuba. It is named for a danzón that became the title piece of the album Buena Vista Social Club. The film is an international co-production of Germanythe United Statesthe United KingdomFrance, and Cuba.

The film documents how Ry Cooder, long-time friend of Wenders, brought together the ensemble of legendary Cuban musicians to record an album (also called Buena Vista Social Club) and to perform two times with a full line-up: in April 1998 in Amsterdam (two nights) and the 1st of July 1998 in the United States (at the Carnegie HallNew York City). Although they are geographically close, travel between Cuba and the United States is restricted due to the political tension between the two countries, so many of the artists were travelling there for the first time. The film shows their reactions to this experience, as well as including footage of the resultant sell-out concert. It also includes interviews with each of the main performers.

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Subjects: Jimmy Page, The Edge and Jack White

Director: Davis Guggenheim

About:

The film documents the varied playing and recording styles of guitarists Jimmy PageThe Edge, and Jack White.

Page's history with guitar traces back to his childhood when he played in a skiffle band. After desiring to do more than play pop music, Page "retires" from guitar playing to attend art school. He later revives his music career as a session guitarist, only to be discouraged by the realization that he is playing others' music and stifling his own creativity. At that point, Page begins to write and perform in the bands The Yardbirds and Led Zeppelin. Page discusses the skiffle and blues music that influenced him at the time. For many of Page's scenes, he is seen visiting Headley Grange, where several songs from Led Zeppelin IV were recorded, and in one scene, explains how the distinctive drum sound from "When the Levee Breaks" was achieved from the acoustics of the house in which it was recorded.

The Edge's history with guitar traces back to building a guitar with his brother Dik and learning to play. In the film, he visits Mount Temple Comprehensive School and recalls forming U2 in his childhood. He also demonstrates his playing technique, in how he eliminates certain strings from chords, as well as his use of echo and delay effects to "fill in notes that aren't there". He also discusses his purchase of his signature guitar, the Gibson Explorer, in New York City and the punk music that influenced him. In other scenes, he plays early demo tapes of "Where the Streets Have No Name", discusses his inspiration for "Sunday Bloody Sunday", and spends time experimenting with guitar effects for the riffs to "Get on Your Boots".

Jack White traces his musical background to his childhood in a rundown neighborhood of Detroit. Living with two drum sets and a guitar occupying his room and sleeping on a piece of foam due to taking out his bed for more room for his music, White struggled to find a musical identity, as it was "uncool" to play an instrument and his nine siblings all shared a musical propensity. His strong interest in blues and roots music opposed the hip hop and house music popular in the predominantly Latino south Detroit neighbourhood at the time. White eventually finds a niche in a garage rock band called The Upholsterers while working as an upholsterer, which paves the way for his future bands The White Stripes and The Raconteurs. White's philosophy is to limit and challenge himself in various ways to force creative approaches to recording and playing.

The touchstone of the film is a meeting of the three guitarists dubbed "The Summit". In these scenes, the three guitarists not only converse about their influences and techniques, but they also play each other's songs together, showing each other how to play "I Will Follow", "Dead Leaves and the Dirty Ground", and "In My Time of Dying". The film concludes with the men playing an impromptu cover version of The Band's "The Weight" on acoustic guitars.

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Subject: The Band

Director: Martin Scorsese

About:

The Last Waltz was a concert by the Canadian-American rock group The Band, held on American Thanksgiving Day, November 25, 1976, at Winterland Ballroom in San FranciscoThe Last Waltz was advertised as The Band's "farewell concert appearance",[2] and the concert saw The Band joined by more than a dozen special guests, including Eric ClaptonRingo StarrBob DylanRonnie WoodMuddy WatersNeil YoungNeil DiamondVan MorrisonBobby CharlesDr. JohnPaul ButterfieldEmmylou HarrisRonnie HawkinsJoni Mitchell and, The Staple Singers. The musical director for the concert was The Band's original record producer, John Simon.

The event was filmed by director Martin Scorsese and made into a documentary of the same name, released in 1978. Jonathan Taplin, who was The Band's tour manager from 1969 to 1972 and later produced Scorsese's film Mean Streets, suggested that Scorsese would be the ideal director for the project and introduced Robbie Robertson and Scorsese. Taplin served as executive producer. The film features concert performances, intermittent song renditions shot on a studio soundstage, and interviews by Scorsese with members of The Band. A triple-LP soundtrack recording, produced by Simon and Rob Fraboni, was issued in 1978. The film was released on DVD in 2002 as was a four-CD box set of the concert and related studio recordings.

The Last Waltz is hailed as one of the greatest concert films ever made,[3] although it has been criticized for its focus on Robertson.[4]

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Subject: Hip-Hop D.J.s

Director: Doug Pray

About:

Scratch is a 2001 documentary film, directed and edited by Doug Pray.[1] The film explores the world of the hip-hop DJ from the birth of hip-hop when pioneering DJs began extending breaks on records, to the invention of scratching and beat juggling, to the more recent explosion of turntablism. Throughout the documentary, many artists explain how they were introduced to hip-hop while providing stories of their personal experiences.[2]

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Subject: Woodstock Festival (1969)

Director: Michael Wadleigh

About:

Woodstock is a 1970 documentary film of the watershed counterculture Woodstock Festival which took place in August 1969 near BethelNew YorkEntertainment Weekly called this film the benchmark of concert movies and one of the most entertaining documentaries ever made.[3]

The film was directed by Michael Wadleigh. Seven editors are credited, including Thelma SchoonmakerMartin Scorsese, and Wadleigh. Woodstock was a great commercial and critical success. It received the Academy Award for Best Documentary Feature. Schoonmaker was nominated for the Academy Award for Film Editing, a rare distinction for a documentary.[4] Dan Wallin and L. A. Johnson were nominated for the Academy Award for Best Sound.[5][6] The film was screened at the 1970 Cannes Film Festival, but wasn't entered into the main competition.[7]

The 1970 theatrical release of the film ran 185 minutes. A director's cut spanning 225 minutes was released in 1994. Both cuts take liberties with the timeline of the festival. However, the opening and closing acts are the same in the film as in real life; Richie Havens opens the show and Jimi Hendrix closes it.

Jimi Hendrix at Woodstock was also released separately on DVD and Blu-ray.

In 1996, Woodstock was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". An expanded 40th Anniversary Edition of Woodstock, released on June 9, 2009 in Blu-ray and DVD formats, features additional performances not before seen in the film, and also includes lengthened versions of existing performances featuring Creedence Clearwater Revival and others.[8]

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Subject: Madonna

Director: Alex Keshishian

Madonna: Truth or Dare (known as In Bed with Madonna outside of North America) is a 1991 American documentary film chronicling the life of American singer and songwriter Madonna during her 1990 Blond Ambition World Tour. The film was generally well received by critics and was successful at the box office with a worldwide gross of $29,012,935 (an estimated $50.99 million in 2016 dollars[1]). It remained the highest-grossing documentary of all time, until Bowling for Columbine surpassed it in 2002.[2] It was screened out of competition at the 1991 Cannes Film Festival.[3]

In 2005, Madonna produced another documentary, I'm Going to Tell You a Secret, which followed her 2004 Re-Invention World Tour. It was filmed and narrated in the same style as Truth or Dare, with stage performances filmed in colour and behind-the-scenes in black and white. Truth or Dare was nominated for a Razzie Award for Worst Actress for Madonna as herself, which she lost to Sean Young for A Kiss Before Dying.[4] It holds an 80% rating on Rotten Tomatoes.[5]

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Subject: Bob Marley

Director: Kevin Macdonald

Marley is a 2012 documentary-biographical film directed by Kevin Macdonald documenting the life of Bob Marley.[4] It was released in theaters on April 20, 2012 to wide critical acclaim.[1][2][5] The film was also released on demand on the same day, a "day and date" release.[6] The film features archival footage and interviews.

The content spans the life and musical career of Bob Marley, mainly as seen through the eyes of those who knew him and contributed to the documentary, including Bunny WailerRita MarleyLee "Scratch" Perry and many others.

Although Marley was enthusiastic about music from a very young age, he had disappointing record sales as a solo artist with his first singles, “Judge Not” and “One Cup of Coffee”. He then decided to collaborate with Peter Tosh and Bunny Wailer to create “The Wailers.” This group later became known as “Bob Marley and the Wailers” and achieved international fame. The group made Bob Marley a household name and brought worldwide attention to Jamaican cultureReggae music and the Rastafari movement.

Throughout the documentary, much of the content deals with Marley’s struggle with racial identity and acceptance. Marley’s widow, Rita Marley stated “they saw Bob as an outcast, because he didn’t really belong to anyone. You’re in-between. You’re black and white; so you’re not even black.” Livingston also comments that Marley was harassed in school for being mixed race. On his race, Marley stated:

"I don't have prejudice against meself. My father was a white and my mother was black. Them call me half-caste or whatever. Me don't deh pon nobody's side. Me don't deh pon the black man's side nor the white man's side. Me deh pon God's side, the one who create me and cause me to come from black and white."

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Subject: Nina Simone

Director: Liz Garbus

About:

What Happened, Miss Simone? is a 2015 biographical documentary film about Nina Simone directed by Liz Garbus. The film opened the 2015 Sundance Film Festival. The screening was followed by a tribute performance by John Legend.[1] The film was released by Netflix on June 26, 2015. The documentary combines previously unreleased archival footage and interviews with Simone's daughter and friends. The title of the film was taken from a Maya Angelou quote.[2]

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Subject: Muscle Shores Sound Studio

Director: Greg 'Freddy' Camalier

Muscle Shoals is a 2013 documentary film about FAME Studios and Muscle Shoals Sound Studio in Muscle Shoals, Alabama. The film was released by Magnolia Pictures on September 27, 2013.[2]

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Subjects: ‘Notorious B.I.G.’ and 2Pac

Director: Nick Broomfield

Biggie & Tupac is a 2002 feature-length documentary film about murdered rappers Christopher "Notorious B.I.G." Wallace and Tupac "2Pac" Shakur by Nick Broomfield.

Broomfield suggests the two murders were planned by Suge Knight, head of Death Row Records. Collusion by the LAPD is also implied.[1] While the film remains inconclusive, when asked "Who killed Tupac?" in a BBC Radio interview dated March 7, 2005, Broomfield stated (quoting Snoop Dogg) "The big guy next to him in the car... Suge Knight."

Broomfield's low-budget documentary was as the New York Times[2] described it, a "largely speculative" and "circumstantial"[2]account relying on flimsy evidence, failing to "present counter-evidence" or "question sources." The movie alleged that Knight had Tupac killed before he could part ways with Knight's Death Row label and conspired to kill Biggie to divert attention from himself in the Tupac murder.[3] 

FEATURE: BBC Introducing at Ten

FEATURE:

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 IN THIS PHOTO: Last year's BBC Introducing Artist of the Year, Izzy Bizu 

BBC Introducing at Ten

________

ANY function or faction that actively promotes…

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the finest artists out there is to be commended and applauded. BBC Introducing started life in 2007 and showcases unsigned, self-signed and emerging artists. It runs across BBC radio stations and, when each act is featured/wins, they retain their own identity and sound. That is rare in an industry where, if one wins a competition, they are often forced to compromise their music and fit into a label’s agenda. Since its formation; the competition has seen winners feature at Glastonbury – spotlighting wonderful acts on the main stages there. By 2010; BBC Introducing was awarded the best new platform to discover music at the BT Digital Music Awards. The following year, it won the Gold award for Best Use of Multiplatform at the Sony Radio Academy Awards. Since January 2013; every BBC Local Radio stations across England and the Channel Islands broadcast a BBC Introducing show (8 P.M. on Saturdays). The idea, originally, was for the BBC to introduce new talent to its stations – artists that have a definite future and are have commercial possibilities. Its brand was discovered by Jason Carter – who continues to lead to the proposition for the BBC – and has expanded and evolved since its first year. Back when it first arrived, many local BBC stations created competitions to showcase local bands. That became so popular and powerful that, as of 2010, that any local BBC station that had not rebranded themselves with the ‘Introducing’ component did so. It is amazing to think BBC Introducing had a stage at Glastonbury in its first year. That is power to a format that is not here to make money and sign karaoke singers – looking for serious artists who have the potential to headline the Main Stage very soon. The fact 2011’s incarnation featured Ed Sheeran at BBC Introducing (in Glastonbury) meant that desire fulfilled itself – Sheeran headlined Glastonbury this year. I am not a fan of his work – as many will know – but understand BBC Introducing has a wide remit and casts its net right across the musical ocean.

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Many might say celebrating ten years of BBC Introducing is a minor thing: they have not spawned THAT many modern legends. It is true we have seen few breakaway stars survive and inspire but there have been plenty that have made a real impact and compelled other acts to come into music. It is the way BBC Introducing has spread to local stations and helped artists in those areas get their music heard. I know a lot of musicians who have auditioned and performed as part of the regional BBC Introducing events and it always puts them in a better mood. By that, they get their music to judges and new crowds; they get an impression regarding how their music will fare in the market and the fellow musicians around them. It is a tremendous networking opportunity and a showcase that is free from label pressure and viewer call-ins. Against the tide of televised reality T.V. shows and circuses: BBC Introducing seems like an old-fashioned showcase for musicians who are not leering after the camera – equipped with sob stories and broken-hearted tales. There are filmed segments and YouTube videos but, largely, BBC Introducing is about music and radio. It is great looking at each county and the talent that emerges forth. There are few national events/ideas that extend to local areas. The televised talent shows like The Voice are all about the glamour of the stage and finding something mainstream. That is not the case with BBC Introducing. Even though it has the BBC brand; that does not mean it is aimed to discover a talent that would be exclusive to Radio 1 and 2. One assumes they would search for a Radio 1 star – the age of the participants suggests a younger audience – but past winners, as I will explore, find their music played on several BBC stations – and other national brands. Sceptics have looked at other BBC initiatives like their annual ‘BBC Music Sound of…’ list and queried the winners and their longevity.

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IN THIS PHOTO: WOWH at Glastonbury

It is always hard seeing, when you do crown a winner, how they will assimilate and adapt to the demands of music. The same can be said of BBC Introducing. It scouts for the finest artists out there but there is no way to say how the artists will fare – and whether they will be a long-term success. The upload tool, launched in 2009, allows users to upload their music direct to BBC Introducing producers and presenters. Artists can enter their postcode and submit their songs to producers. It is a quick and great mechanism for artists to get their music into the hands of producers without having to post material or audition. My final point will look at the upcoming anniversary concert that is taking place but we need to consider artists that credit BBC Introducing for bringing their music to the U.K. public. Jake Bugg, back in 2007, was covered during Glastonbury and, thanks to Introducing, it brought his music to a greater number of people. Other acts, such as Florence and the Machine, The Temper Trap and Two Door Cinema Club have seen similar benefits. Bombay Bicycle Club, Everything Everything and Izzy Bizu – more on her, soon – have credited BBC Introducing. BBC Introducing launched their Artist of the Year which highlights an Introducing artist worth extra merit. Jack Garratt claimed that honour at the end of 2015. Catfish and the Bottlemen won the award in its first year but both artists have found success following the nod. Before that, they were well-known, but it is an extra layer of accreditation and congratulations. When Izzy Bizu received the award last year; BBC ran a piece:

BBC Music has announced Izzy Bizu as the winner of its BBC Music Introducing Artist of the Year Award ahead of the 2016 BBC Music Awards which take place at the ExCeL London on Monday 12 December.

Announced as the winner on The Radio 1 Breakfast Show with Nick Grimshaw this morning, Izzy Bizu says: “It’s an amazing honour to have won BBC Music Introducing Artist of the Year. The BBC has been hugely supportive of my music ever since my independently released Coolbeanz EP and it’s a real honour to follow in the footsteps of acts like Jack Garratt and Catfish and the Bottlemen.”

BBC Introducing, the BBC’s scheme for emerging musical talent, showcases undiscovered and unsigned artists and has helped to kick-start the careers of James Bay, Jake Bugg, Florence and the Machine, and George Ezra plus many more since its launch in 2007, providing a platform to propel the best new acts from across the UK onto the national stage.

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IN THIS PHOTO: Izzy Bizu/PHOTO CREDIT: H&M

Jason Carter, Head of BBC Introducing says: “Izzy is a huge talent that I’m certain will be a huge success story both at home and abroad. I’m proud of the part that BBC Introducing has played in launching her career and look forward to her live performance at the BBC Music Awards, and supporting her in the years to come.”

Born in London, Izzy Bizu started her journey with BBC Introducing back in 2013 when she uploaded her EP Coolbeanz to the talent scheme’s website. Picked up by her local BBC Introducing show on BBC Radio London, the unsigned singer-songwriter gained exposure on the Radio 1 and 1Xtra BBC Introducing playlist slots, garnering support from the likes of Jamie Cullum who played her on his Radio 2 show before being chosen to perform at the BBC Introducing stage at Glastonbury in 2014.

She then supported Sam Smith, Rudimental and Foxes on their UK tours, and last year performed on Later…with Jools Holland and was shortlisted for Critics’ Choice Award at the Brit Awards. This year Bizu was longlisted for BBC Music Sound of 2016, performed at and was nominated for Best Newcomer at the 2016 MOBO Awards, opened the 2016 BBC Music Day concert from Cornwall's Eden Project on BBC ONE, and was the voice of the BBC Euro 2016 theme tune, singing her version of Edith Piaf’s La Foule.

Now signed to Epic Records Sony, she released her debut album Moment of Madness in September. Alongside other BBC Introducing artists Spring King and Sundara Karma, Izzy recently performed at the first BBC Music Presents US tour - a partnership between BBC, Live Nation and the GREAT Britain campaign - showcasing the best UK talent in the US. Beginning in November 2016 and running over the next 12 months, BBC Music Presents will deliver four tours across America, with the first tour visiting New York City, Boston, Philadelphia, Cleveland, Detroit, Chicago and Washington, DC.

Izzy Bizu will perform live on BBC One and bbc.co.uk/music on Monday 12 December from 8.30-10pm with additional programming on Radio 1 and Radio 2, alongside Kaiser Chiefs, Craig David, Lukas Graham, Zara Larsson, John Legend, Emeli Sandé, Robbie Williams and The 1975.

Last year’s winner was Jack Garratt who since his performance at the BBC Music Awards in 2015 has gone on to release his debut album and be named the BBC Music Sound of 2016. The first ever recipients of the award in 2014, Catfish and the Bottlemen, have enjoyed continuing success in the UK and the US appearing on The Late Show with David Letterman and winning the Brit Award for British Breakthrough act in 2016”.

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Bizu’s album, A Moment of Madness, was released in September of last year and, alongside the BBC Introducing prize, completed a fantastic year for her. The L.P. was received well by critics and her music was played on T.V. shows and adverts. Her music has reached millions and it is debatable how far along she would be was it not for BBC Introducing. She has natural talent but the connections she has made through BBC Introducing cannot be undermined.

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I will finish by bringing in the details surrounding the tenth anniversary of BBC Introducing – and the gig that is going to take place:

BBC Music Introducing has announced a gig at O2 Academy Brixton to celebrate its 10th anniversary.

George Ezra, Blossoms, Nao, Slaves and The Big Moon are among the names on the line-up for BBC Music Introducing Live, with more yet to be announced.

The night, featuring artists who have all been backed by Introducing, will be hosted by Huw Stephens, Annie Mac, Phil Taggart, Steve Lamacq and Tom Robinson.

BBC Music Introducing Live takes place on 4 October.

Since launching in 2007, acts supported by BBC Music Introducing have gone on to release 14 UK number one singles and 28 UK number one albums between them.

There are now over 460,000 tracks, which is more than three years-worth of music, uploaded to the BBC Music Introducing website and 170,000 artists are registered.

Each BBC regional radio station across the country has a BBC Music Introducing programme dedicated to finding local talent.

Some of the musicians they discover are then picked up on a national and international stage through BBC Radio 1, 1Xtra, Radio 2, 6 Music, Radio 3, Asian Network and World Service.

Bob Shennan, Director, BBC Radio and Music, said: "I'm incredibly proud of the work BBC Music Introducing has done over the last 10 years to bring talented UK artists, from all musical backgrounds, to a national and international audience.

"So many of the musicians supported by BBC Music Introducing have gone on to achieve great success and this gig will be a fantastic opportunity to celebrate all that is special about new music in the UK."

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IN THIS PHOTO: George Ezra/PHOTO CREDIT: Robert Blackham

George Ezra

"The music industry was a very intimidating and confusing world for me when I was 18.

"I knew I wanted to perform and write for a living but had no idea how to make this a reality.

"BBC Introducing was, and still is, the most amazingly inclusive platform I could have asked for. Long live Introducing."

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IN THIS PHOTO: Blossoms

Blossoms

"The BBC plays a significant part in everybody's lives in one way or another, but BBC Music Introducing (specifically) has certainly played a colossal part in ours, especially in our embryonic stage, and has continued to support us throughout.

"They provide a service like no other and are at the forefront when it comes to championing and nurturing new talent."

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IN THIS PHOTO: NAO

NAO

"BBC Introducing were fantastic to me when I was starting out.

"Not only did they give me my first radio play but they put me on at Glastonbury, which at the time was a dream come true.

"They're a hugely important part of the BBC and a big reason why more interesting music can break through in the UK compared to other countries."

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IN THIS PHOTO: The Big Moon

The Big Moon

"They've championed us from the beginning and given us the opportunity to play amazing festivals in the UK and abroad.

We're incredibly grateful for their support and are so so happy to be playing at their 10th anniversary."

FEATURE: Globetrotting (Part Three): Thirteen Artists to Watch

FEATURE:

 

Globetrotting (Part Three):

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IN THIS PHOTO: Gretta Ray/PHOTO CREDIT: Emma McEvoy Photography 

 Thirteen Artists to Watch

________

IT is rare we get to travel the music world…

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IN THIS PHOTO: The Vryll Society

and discover artists from outside our own nation. The media does its best to cover other areas but it can be hard keeping a track of everything. In the third edition of the Globetrotting series; I have collated artists from Edingburgh, the U.S. and Canada; Swedish and Icelandic talent – plus, some Australian and Liverpool gems in the collection for good measure!

________

The Night Café

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Location: Liverpool, U.K.

Genre: Indie

Essential Song: Felicity

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PHOTO CREDIT: Natalia Mantini

Location: New York, U.S.A.

Genre: Rap

Essential Song: Bodak Yellow

Follow: http://iamcardib.com/

Gretta Ray

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Location: Melbourne, Australia

Genres: Alternative; Indie

Essential Song: Towers

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Location: Iceland

Genre: Indie

Essential Song: White Sun

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Location: Stockholm, Sweden

Genre: Indie

Essential Song: Coming Down

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Location: Los Angeles, U.S.A.

Genres: Folk; Rock; Country

Essential Song: Malibu Moon

Follow: http://www.elijahocean.com/

Emma Stevens

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Location: Surrey, U.K.

Genres: Singer-Songwriter; Country; Folk

Essential Song: A Place Called You

Follow: http://emmastevensmusic.com/

Pastel Felt

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Location: Los Angeles, U.S.A.

Genre: Rock

Essential Song: Miel

Follow: https://www.facebook.com/pastelfelt/

The Vryll Society

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Location: Liverpool, U.K.

Genre: Indie

Essential Song: Shadow of a Wave

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 PHOTO CREDITMorten Fog Photography

Location: Vancouver, Canada

Genre: Alternative-Rock

Essential Song: Going Going Gone

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Location: London, U.K.

Genre: Grime

Essential Song: 16 Shots

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PHOTO CREDITIan Laidlaw

Location: Melbourne, Australia

Genre: Alternative

Essential Song: Keep Growing

Follow: http://www.elijahocean.com/

Indigo Velvet

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PHOTO CREDIT: Alice Hadden Photography

Location: Edinburgh, Scotland

Genre: Alternative

Essential Song: Mona

FEATURE: BBC Radio 1 and 2 at Fifty

FEATURE: 

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IMAGE CREDIT@BBCR1

 BBC Radio 1 and 2 at Fifty

________

ANYONE who says radio is a dying medium…

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IN THIS PHOTO: D.J.s Nick Grimshaw and Tony Blackburn

would do well to remember the impact and influence it actually has. The fact BBC Radio 1 and 2 are celebrating fifty years of broadcast shows there is a lot of demand and love for the quality and variation you get on the radio. I will employ my own thoughts but a lot of other sources have been celebrating the milestone anniversary the past couple of days. This morning, D.J.s Nick Grimshaw and Tony Blackburn presented a joint ninety-minute broadcast that featured music from the past fifty years. Radio 1 has launched a ‘pop-up’ vintage station to feature fifty one-hour themes shows (over the next three days). On this morning’s celebratory show was Sara Cox – a current Radio 2 D.J. (who hosted the Radio 1 Breakfast Show between 2000-2003) – whose first record on her show was Robbie Williams’ Let Me Entertain You – she started the job three days early and, tasked with hitting the ground running, put in a pretty great show. She recounted how nervous that first show was but how exhilarating it was.

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I shall let the BBC ­take up the rest of the story:

Veteran broadcaster Mike Read, who hosted the breakfast show for five years from January 1981, spoke about the former BBC Radio 1 roadshows.

He told how he once played Wham! classic Club Tropicana with three kazoos on stage at a roadshow in St Ives, Cornwall, alongside George Michael and Andrew Ridgeley.

"We had such a great time that we said 'lets stay for the whole weekend'," he added.

"It wasn't exactly George's kind of weekend so he flew back the following day, but Andrew and myself stayed on and had a crazy time, gatecrashed a few parties and had enormous fun."

He added: "The roadshows were fantastic. I want to go back and do those all over again."

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IN THIS PHOTO: Mike Read

Red telephone

Tony Blackburn, who hosted Radio 1's first ever show, spoke about interviewing The Beatles and Rolling Stones and also of touring with Diana Ross and The Supremes.

"That was the big moment for me. I was standing on the side of the stage and listening to her and watching her. It was fantastic, because I love Diana Ross.

Blackburn also described hanging up on Frank Sinatra, who had the same agent as him.

He described how a red telephone, usually reserved for Radio 1 bosses to call the studio, started ringing one day.

"I picked up the phone and said 'who's that' and he said 'Frank'.

"I said 'Frank who?' He said 'Frank Sinatra' and I said 'oh very funny' and put the phone down.

"I thought it was Pete Murray, one of the DJs at the time. He always used to send us up a little bit and do these things - but it was actually Frank Sinatra."

Meanwhile, Simon Mayo - who hosted the breakfast show from 1988 to 1993 - spoke about his interviews with Sir Paul McCartney and Sir Mick Jagger.

"Mick Jagger and the Rolling Stones were part of Radio 1 in the 90s as well. Even then you are dealing with a guy who has been responsible for 30 years of hits."

The show heard archive footage of Jagger appearing on Mayo's "God of the week" section of his show.

New-look stations Radio 1 and 2 were launched on 30 September 1967, from what had previously been the BBC's Light Programme”.

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IN THIS PHOTO: Tony Blackburn in 1967

It has been a momentous and eventful day for the stations. Although Radio 1 peaked in the 1970s; it first broadcast, obviously, was back in 1967. It was seen as an edgy and cutting station: Radio 2 a more middle-of-the-road show that could go alongside Radio 1. Before that, there was BBC Light Programme  - it had been broadcasting music and entertainment since 1945. It is interesting to learn about the background and why there was so much anxiety when Radio 1 was launched. We all know about pirate stations like Radio Caroline and Radio London. The former, especially, gained huge notoriety and acclaim during its tenure. It was a rebellious, offshore station that brought music to the people. It was a ‘pirate’ station because it was outlawed by an Act of Parliament. There was, also, an element of swashbuckling about stations like Radio Caroline. Something very cool, outlawed and contemporary – we do not really have any likeminded stations these days. Things have changed so we do not need to moor stations out to sea but there are, I guess, a few smaller stations that have the same sort of vibe as Radio Caroline. It is just as well things did change as radio has become more mainstream and widespread. It would be shocking to imagine a world without radio – if Radio Caroline’s death was the end as we know it. That could never be but it is was a huge relief when Tony Blackburn launched BBC Radio 1 at 6:55 A.M. on 30th September, 1967. He had worked on Radio Caroline and Radio London and was a natural, affable voice to herald in a new era. U.S.-style jingles were used on the station and that was familiar to those who had followed Blackburn during his pirate radio station days. The Move’s Flowers in the Rain was the first full record played and, in its early days, D.J.s like Ed Stewart.

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Jimmy Young and Kenny Everett made their voices known. I will end the piece by looking at facts about Radio 1 and 2 – and the most popular BBC D.J.s of the past fifty years. Although there were a lot of great names in those early days; it was Annie Nightingale’s appointment in 1970 that created the biggest wave – she became Britain’s first female D.J. She is the longest-serving presenter and is responsible for more women coming into radio. It is amazing that, until 1970, there had been no British female D.J.s on the air. It would be an outrage if there were no female D.J.s today but, back in the 1960s, it was not seen as that unusual. Pioneers such as Nightingale broke boundaries and ushered in, gradually, a change in radio. Now, we have so many wonderful female D.J.s in the country – that is down to Annie Nightingale and what she created from the 1970s. It is pleasing to hear she is still a D.J. and has such a passion and determination for what she does. I am not surprised she became the first female D.J. as her defiance and love of music can never be extinguished. Over the decades, there were changes and controversies. In the 1970s, there was a sense that radio had become institutionalised and was part of a huge corporation like the BBC. A few of the D.J.s, like Jimmy Young, were in their 40s – and there was the feeling BBC Radio 1 and 2 were bringing in ‘older’ listeners. Before, pirate stations like Radio London, were aimed at younger listeners. Times changed and radio had to broaden and become more conventional. That being said; Radio 1 rose to become the most-listened-to station in the world with many of its D.J.s courting column inches in the tabloids of the time. That was not due to scandals but the celebrity status they had acquired. Owing to a lack of competition at the time – a few periphery stations but no mainstream rivals – BBC Radio 1 and 2 (the former, especially) was free to reign and dominate.

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IN THIS PHOTO: Steve Wright

Eventually, Radio 1 became more crossover and took talent from other parts of the BBC. High-profile D.J.s like Steve Wright departed – an unsuccessful move from his long-running afternoon show to the breakfast slow in 1994 – meant Chris Evans was drafted in. Evans was sacked in 1997 and Mark and Lard (Mark Radcliffe and Mark Riley) only lasted a few months when they took over the breakfast show. There were bumps but the rebrand and changes at Radio 1 coincided with the birth of Britpop. At a time when British music ruled and compelled: BBC Radio 1 seemed like the perfect station to soundtrack the explosions, developments and joys of the time. That, alongside Rave and Dance of the 1980s and 1990s, brought in youth-orientated like Pete Tong. He was a D.J. that laid down a mark and saw many age-appropriate contemporaries come to the station. It seemed, by the 1990s, Radio 1 was becoming what people wanted all along: a station with younger D.J.s who played music that definitely did not stray anywhere near the middle of the road. As the station went into the 2010s; things changed even more:

The licence-fee funding of Radio 1, alongside Radio 2, is often criticised by the commercial sector. In the first quarter of 2011 Radio 1 was part of an efficiency review conducted by John Myers.[12] His role, according to Andrew Harrison, the chief executive of RadioCentre, was "to identify both areas of best practice and possible savings."[12]

The controller of Radio 1 and sister station 1Xtra changed to Ben Cooper on 28 October 2011, following the departure of Andy Parfitt. Ben Cooper answers to the Director of BBC Audio and Music, Tim Davie.[13]

On 7 December 2011, Ben Cooper's first major changes to the station were announced. Skream & Benga, Toddla TCharlie Sloth and Friction replaced Judge Jules, Gilles Peterson, Kissy Sell Out and Fabio & Grooverider. A number of shows were shuffled to incorporate the new line up.[14] On 28 February 2012, further changes were announced. Greg James and Scott Mills swapped shows and Jameela JamilGemma Cairney and Danny Howard joined the station. The new line up of DJs for In New DJs We Trust was also announced with B.Traits, Mosca, Jordan Suckley and Julio Bashmore hosting shows on a four weekly rotation.[15] This new schedule took effect on Monday, 2 April 2012.

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 IN THIS PHOTO: Jameela Jamil

In September 2012, Nick Grimshaw replaced Chris Moyles as host of "Radio 1's Breakfast Show". Grimshaw previously hosted Mon-Thurs 10pm-Midnight, Weekend Breakfast and Sunday evenings alongside Annie Mac. Grimshaw was replaced by Phil Taggart and Alice Levine on the 10pm-Midnight show.

In November 2012, another series of changes were announced. This included the departure of Reggie Yates and Vernon Kay. Jameela Jamil was announced as the new presenter of The Official Chart. Matt Edmondson will host a weekend morning show and Tom Deacon will return to present a Wednesday night show. Dan Howell and Phil Lester, famous YouTubers also joined the station. The changes took effect in January 2013.[16]

Former breakfast presenter Sara Cox hosted her last show on Radio 1 in February 2014 before moving to Radio 2. In March 2014, Gemma Cairney left the weekend breakfast show to host the weekday early breakfast slot, swapping shows with Dev.

In September 2014, Radio 1 operated a series of changes to their output which saw many notable presenters leave the station – including Edith Bowman, Nihal and Rob da Bank. Huw Stephens gained a new show hosting 10pm-1am Mon-Wed with Alice Levine presenting weekends 1pm-4pm. Radio 1's Residency also expanded with Skream joining the rotational line-up on Thursday nights 10pm-1am.

From December 2014 to April 2016, Radio 1 included a weekly late night show presented by a well known Internet personality called The Internet Takeover. Shows have been presented by various YouTubers such as Jim Chapman and Hannah Witton.[17]

In January 2015, Clara Amfo replaced Jameela Jamil as host of The Official Chart on Sundays (4pm-7pm) and in March, Zane Lowe left Radio 1 and was replaced by Annie Mac on the new music evening show.

In May 2015, Fearne Cotton left the station after almost 10 years. Her weekday morning show was taken over by Clara Amfo. Adele Roberts also joined the weekday schedule line-up, hosting the Early Breakfast show.

In July 2015, The Official Chart moved to a Friday from 4pm-5.45pm, hosted by Greg James. The move took place in order to take into account the changes to the release dates of music globally. Cel Spellman joined Radio 1 to host Sunday evenings 4pm-7pm.

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IN THIS PHOTO: Clara Amfo

Radio 2 has experienced such shifts but is truer to its original roots than Radio 1. It has maintained its more mature sound and has always appealed to a slightly older target audience. That sounds like a jab but if there were two stations exactly like Radio 1 then there would be no point. Both plays mainstream songs but from different ends of the spectrum. Both stations, between them, have inspired other stations to form and remain the most popular brands in British radio. Against all the turbulence and change over the past five decades – Radio 1 and 2 have launched artists and helped break careers (in the good sense). It is debatable how far the influence stretches but newer stations like BBC Radio 6 Music stemmed from Radio 1 and 2; smaller stations have taken their cue from them and, in fact, most of the new mainstream radio stations would have been influenced and compelled by Radio 1 and 2. One cannot truly underestimate the legacy and continued effectiveness of BBC’s best and biggest stations. Things have changed since the early days. There are a lot more female D.J.s – like Sara Cox and Jo Whiley; Clara Amfo and Fearne Cotton – on the air and demographics have shifted. There are more black and Asian D.J.s and a mixture of the older, established legends and the new breed. It is exciting seeing the continued evolution of Radio 1 and the sturdy establishment of Radio 2. Radio 3 and 4 came later (than 1967) and offer something different – less popular music but a more intellectual and news/factual-driven show with features and discussion shows. Radio 6 Music is, perhaps, the natural offspring of Radio 1 and 2. It seems to splice the two and provide a broader palette.

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I will end this by, first, bringing in a list of fifty facts about the stations:

1. The first voice on Radio 1 was Tony Blackburn, right? Wrong. Shortly after 5:30am on 30 September, broadcaster Paul Hollingdale was at the helm, with his Breakfast Special show broadcast simultaneously on both stations.

2. The opening announcement was not what you'd call dynamic...

3. The two stations split at 7:00am. After a five-second countdown, Tony Blackburn officially launched Radio 1 with a jingle promising "too much fun" and the sound of a barking dog.

4. The first song played on Radio 1 was Flowers In The Rain by The Move. Over on Radio 2, it was Julie Andrews singing The Sound Of Music.

5. George Martin's Theme One, however, was technically the first piece of music on Radio 1. Blackburn also played Johnny Dankworth's Beefeaters under his opening link.

6. Blackburn later revealed that the famous film footage of the launch was recorded the night before, and he had to write down the words, so he could replicate them when the station went live.

7. Many of Radio 1's presenters were drawn from the ranks of pirate radio - but they found the BBC a lot more strait-laced. "I was yelled at when a 10-second link lasted 11 seconds," recalled Keith Skues. "'You cannot just ignore Greenwich Mean Time, Skues!'"

8. Weather presenter Rosie O'Day received 12 complaints in the opening weeks of Radio 1 and 2. Why? Because she had the audacity to be a woman. "Please, please spare us from Rosie O'Day reading the weather forecast," complained one. "It sounds more like a children's fairy story. I'm sure she is a charming girl, but let us stick to a man for the weather news!"

9. Radio 2's Ken Bruce has a licence to drive Routemaster double-decker buses, and owns six of them, which he hires out for weddings and funerals.

10. Before his Radio 1 debut, Dave Lee Travis stole the microphone he'd used on Radio Caroline. "The very first pirate broadcasts were made on it, and I thought, 'I have spent so much of my time on this ship, I'm having a souvenir,'" he said. "I just went and got a pair of scissors and cut the cable."

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IN THIS PHOTO: BBC Radio 2's Ken Bruce

11. Radio 1 launched half a decade after The Beatles' debut single, a fact that did not go unnoticed by the music industry. Trade magazine Record Retailer accused the BBC of "trailing years behind public taste" and warned "the new station must swing if it is to be effective".

12. Radio 2's own soap opera, Waggoners Walk, launched in 1969. Set in Hampstead, it was often controversial, covering story-lines like contraception and homosexuality.

13. The show was cancelled at short notice in 1980. Some of the cast heard the news on the radio, and the writers responded by having aliens invade Hampstead Heath.

14. Terry Wogan made his Radio 2 debut in 1967, presenting show Late Night Extra - "on the beat with music and news [and] off the record with pop".

15. The Radio 1 Roadshow began in July 1973 with a Land Rover pulling a converted caravan around British holiday resorts. It's now morphed into the Big Weekend, with up to 100,000 fans watching acts like Jay-Z, Foo Fighters and Madonna playing unlikely towns like Swindon, Dundee and Norwich.

16. Between 1967 and 2004, John Peel brought more than 2,000 artists into the BBC to record one of his fabled Peel Sessions. First up were psychedelic rock band Tomorrow, with the likes of Led Zeppelin, Pink Floyd, Jimi Hendrix, Bob Marley, The Smiths, Nirvana, Pulp and The White Stripes coming after.

17. But it was The Fall who recorded the most Peel sessions - 32 in all.

18. These days, DJs are expected to know everything about music - but no-one can be right all the time. Revealing the Radio 1 Top 40 in March 1981, Tony Blackburn announced a new entry by pop newcomers "Duhran Duhran". After several phone calls, he corrected the mistake, saying: "None of us are too big to apologise."

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IN THIS PHOTO: Kenny Everett

19. Kenny Everett recorded several interviews with The Beatles for Radio 1 and 2 - but he also helped inspire one of their lyrics after taking an acid trip with John Lennon on the Weybridge golf course (of all places).

"A couple of months after my psychedelic round of golf with John I was in the Abbey Road recording studios where the Beatles were recording I Am The Walrus," wrote Everett in his autobiography. "When he got to the line about getting a tan from standing in the English rain, he stopped and said to me: 'Reminds me of that day on the Weybridge golf course, eh Ken?' to which I replied: 'What'?' I'm sure he thought I was a complete lemon... or was it a bird?"

20. Chris Evans has presented both the Radio 1 and Radio 2 Breakfast Shows - but he got his start in radio as Timmy Mallet's assistant on Manchester's Radio Piccadilly, playing a character called Nobby No Level, whose catchphrase was: "What I don't know - I don't know!"

21. To celebrate its fifth birthday in 1972, Radio 1 released hundreds of balloons from the top of Broadcasting House. Attached to each balloon was a form on which the finder could write their favourite record title and return it to their favourite DJ, who would play it on air.

22. In 2015, Elaine Paige helped Pieter - a regular listener to her Radio 2 show - propose to his boyfriend live on air.

23. Derek Jameson, who presented Radio 2's Breakfast Show from 1986 - 1991, became a broadcaster late in life as a consequence of suing the BBC. The former newspaper editor accused Radio 4's Week Ending of libel for saying he was "so ignorant he thought erudite was a type of glue". He lost the case and was ordered to pay £75,000 in costs - forcing him to accept a job with the corporation he had sued.

24. Many songs have been "banned" by BBC Radio over the years - but one of the first to be censored by Radio 1 was Pink Floyd's It Would Be So Nice. A reference to the Evening Standard newspaper in the opening verse was enough to breach the BBC's strict no-advertising policy.

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25. DJ Mike Read got the blame for banning Relax - but he says the decision wasn't in his power. "I didn't ban Relax," he said, "the BBC banned it. I was just a BBC employee." Defending the decision, he added: "The video did have that big fat Buddha bloke urinating from the balcony into somebody's mouth. Even now, that's not terribly good."

26. Read later made up with the band and provided a voice-over on the TV advert for their debut album.

27. Jimi Hendrix, Madness and The Who have all recorded jingles for Radio 1 and 2.

28. On December 6, 1980 Radio 1's Andy Peebles interviewed John Lennon and Yoko Ono in New York, just two days before John was assassinated.

29. In 1976, Tony Blackburn fell to pieces on air, after his wife Tessa Wyatt, star of hit sitcom Robin's Nest, left him. With millions listening, he played Chicago's If You Leave Me Now over and over again, begging for Tessa to return. He has called this his "one big broadcasting mistake".

30. In 1991, Radio 1 managed to persuade Whitney Houston to cover for Simon Bates while he was on holiday.

31. Nowadays, almost every show has some sort of interactive element, but Annie Nightingale's Sunday Night Request Show was Radio 1's first request show. It ran for 12 years from 1975.

32. Taping songs off the radio was a rite of passage days before streaming. It was illegal, of course, but Annie used it to her advantage. "I used to say: 'In a few minutes, I'll be playing Is That All There Is by Cristina,' so it gave people a chance to set up their tape recorders," she laughs.

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IN THIS PHOTO: John Peel and Annie Nightingale

33. Nigel Ogden, the host of Radio 2's big organ bonanza, The Organist Entertains, first featured on the show as a player in his teens, before taking over as a presenter in 1980.

34. "Hi there, pop pickers". "Quack Quack, Oops". "Stop!.... Carry on". "One Year Out". "It's Another True Storeeee!" "Not 'Arf".

35. After a Christmas Party got out of hand in 1995, Chris Evans "phoned in sick" for the following day's Breakfast show. He was duly docked a day's pay - reportedly in the region of £7,000. The following morning, he was back on the airwaves, telling listeners: "I feel like I've had a holiday in Bermuda - although it was more expensive than a week in Bermuda, obviously."

36. Simon Bates' first job at the BBC was as a Radio 4 continuity announcer. "I was very bad at it too," he told The Independent. "I never mastered the art of saying 'Radio 4' between the end of one programme and the start of the next. If you try it, it's really very difficult."

37. Early DJs were hired for their skills as presenters, rather than an interest in music. John Peel, the one exception, remembered attending a party at Dave Lee Travis's house when he "suddenly realised that DLT didn't own any records". He asked him about it and Travis replied, "Oh no, it's too much trouble... Anything I really like I've copied on tape. I've got quite a lot of tapes and I play them in the car, you see."

38. Chris Moyles opened his first Radio 1 Breakfast Show in 2004 with a five-minute song crammed with clips of his predecessors. The song concluded with the prescient declaration: "From now until they fire his ass, the saviour of Radio 1 is here".

39. Moyles clocked up eight years in the hot seat before bowing out in 2012 - making him Radio 1's longest-serving Breakfast presenter.

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IN THIS PHOTO: Current Radio 1 Breakfast Show host Nick Grimshaw with its former host, Chris Moyles

40. Terry Wogan managed 27 years on Radio 2's Breakfast show, before bowing out in 2009. Bidding farewell, he said: "Thank you for being my friend," before cueing up The Party's Over by Anthony Newley, which features the lyrics: "Now you must wake up, all dreams must end."

41. In 1976, Noel Edmonds presented the Radio 1 Breakfast show live from a flight from London to Aberdeen. During take-off, he played Fifth Dimension's Up & Away In My Beautiful Balloon, the needle on the record skipping as the plane's wheels left the ground.

42. Except they didn't... the whole programme was an elaborate hoax for April Fool's Day.

43. Jeff Young pioneered Radio 1's first dance music programme with his "Big Beat" show in 1987. Pete Tong and Dave Pearce picked up the mantle with Dance Anthems and the weekend Recovery Session - a breakfast show for clubbers - in the 1990s.

44. Amy Winehouse's Live Lounge cover of Valerie by The Zutons was so popular it was later turned into a single in its own right, produced by Mark Ronson. It became one of her biggest hits, charting at number two (higher than the original, which peaked at nine).

45. Emma Freud once introduced a song by an artist she called "PJ and Harvey" - raising the enticing prospect of indie queen PJ Harvey duetting with Ant and Dec's alter-egos PJ and Duncan.

46. Laura Sayers, a former Radio 1 producer, met her husband through a feature on the Scott Mills show, which she was working on at the time. One Night With Laura saw Scott and the team scour the country to find a listener to be her new boyfriend. After trying to impress a panel of judges, the contestants were whittled down to a final four, before an eventual winner was chosen. However, Laura actually ended up marrying one of the runners-up, James Busson.

47. In 1992, a poll conducted by Radio 1 saw listeners vote Stars by Simply Red as their favourite album.

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48. The most popular video on Radio 1's YouTube channel is Miley Cyrus's cover of Lana Del Rey's Summertime Sadness - which has more than 35 million views.

49. In 2011, Radio 1 entered the Guinness World Records when Chris Moyles and his then-sidekick Comedy Dave presented the longest music radio show by a DJ team or duo, clocking in at more than 51 hours. Their record has since been broken and is currently held by Belgian DJs Eva Daeleman and Peter van De Veire, who broadcast non-stop for a staggering 100 hours in 2015.

50. When it was first launched, the Radio 1 website had a considerably longer URL than it does now, as Pete Tong found out when he attempted to read it out on air.

The second piece is a list of the greatest BBC D.J.s of the past fifty years:

Sir Terry Wogan has been named the greatest BBC radio presenter of the last 50 years in a Radio Times poll of broadcasting experts.

Sir Terry presented Radio 2's breakfast show for a total of 28 years.

John Peel, who discovered dozens of new bands during his long BBC career, was in second place.

The top 10 includes four women - Woman's Hour presenters Jane Garvey and Jenni Murray, its former presenter Sue MacGregor and DJ Annie Nightingale.

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IN THIS PHOTO: Sir Terry Wogan

1.       Sir Terry Wogan

2.       John Peel

3.       Sue MacGregor

4.       Annie Nightingale

5.       Alistair Cooke

6.       Kenny Everett

7.       Jane Garvey

8.       Humphrey Lyttelton

9.       Eddie Mair

10.   Jenni Murray

11.   Brian Redhead

12.   Kirsty Young

13.   John Humphrys

14.   Melvin Bragg

15.   Danny Baker

16.   James Naughtie

17.   Fi Glover

18.   Linda Smith

19.   Nick Clarke

20.   Tony Blackburn

I hope that gives an insight into BBC Radio 1 – and its sister station, 2 – and why its fiftieth anniversary is such a big deal. It has helped shape radio and music and remains and remains one of the world’s biggest brands and a go-to for serious music listeners. It is a time/weekend to celebrate and congratulate a fantastic milestone. Let’s hope the next fifty years since BBC create new stations and secure its existing foundations. We all take Radio 1 and 2 for granted but few of us would have any idea they could have survived when pirate stations like Radio Caroline were sunk. Those first (rather brave) words by Tony Blackburn welcomed in a new era and, with it…

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IN THIS PHOTO: The D.J.s that launched BBC Radio 1 on 30th September, 1967

A radio revolution.

FEATURE: Wild Beasts: Esprit De Corps and Tristesse 

FEATURE:

 

Wild Beasts:  

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 Esprit De Corps and Tristesse 

________

I will keep this nice and short but I could not let…

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PHOTO CREDIT: Maxyme G. Delisle

this day past without marking the sad news of Wild Beasts’ split. I will write about them in greater depth as details prevail but, seeing Hayden Thorpe’s eloquently and heartfelt letter (posted on Instagram) announcing the band’s break-up – it makes me realise what a hole will be left. The band has been credited with bringing sensuality and poetic spirit into the mainstream – helping a degree of sophistication and old-school lust into music. The intellect of Hayden Thorpe (the frontman and co-writer) is matched by his flexible and extraordinary voice. With Ben Little and Chris Talbot providing musical support and perfect notes – a tight and compelling band who have amassed a huge amount of respect since their debut. It is the interplay and connection between Thorpe and co-vocalist/writer Tom Fleming that fascinates me. The wild, boy-like flight and extravagance of Hayden Thorpe’s voice perfectly blends with Fleming’s deep and commanding tones – the two able to weave exceptional magic by uniting their voices. My first exposure to the band, like many, was their debut album, Limbo, Panto – they released three E.P.s before 2008 but their debut L.P. is the record that put them on the map. That record, listening now, sounds so far ahead of its time.

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The galloping rhythms and weirdness of Brave Bulging Buoyant Clairvoyants; the growling and gurning of She Purred, While I Grrred; the brilliant of the Fleming-led His Grinning Skull – so much variation, beguiling oddity and originality on that record. Some critics were off-put because of Thorpe’s vocals – a divisive tool that can either take you by the soul or grab you by the bollocks. Anyone who takes umbrage at his free, flowing and dancing voice do not realise the nuance and potency it holds. It is not only the (co)lead that makes the band so special – I will talk about them in the present-tense as they are, technically, still together. Through their career, they managed to alter and evolve their sound without sacrificing their ethos. Two Dancers (2009) and Smother (2011) smooth the rougher, wilder edges of their debut and offer great control, elegance and depth. The former is a stunning record that contains some of their debut-era leap – Hooting & Howling and All the King’s Men – but a, in When I’m Sleepy and Empty Nest, different aspects and strands. They managed to maintain their incredible lyrics and originality but brought a greater sense of romance and tenderness to the physicality. If the debut concerned a youthfulness and sexuality then Two Dancers was the sound of young men more considerate and level-headed.

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Smother followed that and, if anything, is the peak of their career. Smother made the top-ten of many critics’ end-of-year lists and no surprise. Hayden Thorpe, keen to head away from London – the Yorkshire-raised band moved to London early in their career – and to the Lake District. The soundscape and majesty of the place inspired their most widescreen, beautiful and rich album so far. Wild Beasts could never abandon the sweat and scintillating of sex – Plaything and Reach a Bit Further address romance and relations with typical intelligence and poetic flair – but, here, they bring yet MORE details and colour into their work. Present Tense was the sound of a band detaching from touring and the burn-out of 2012. That year found them hitting the road hardcore. Having released three albums in four years; many could forgive them for wanting to have a rest – that was not going to happen. They said goodbye to long-term producer Richard Formby and drafted Leo Abrahams in (alongside Lexx). They helped sharpen the band’s material and help assimilate more electronic and synthesised sounds into the blend. Present Tense, as a result, remains a more direct and stringent work (than Smother). Boy King, their final album, saw another shift and retool. The boys returned to the sexual abandon and masculinity of Limbo, Panto – albeit, a less florid and more aggressive reinterpretation. The album addresses modern-day masculinity and features heavy synths and compressed drumming – more guitar solos and a thud that sounds foreign when compared to their previous records.

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That departure from Art-Pop stunned some critics – who felt they had lost their edge and compromised – but, in truth, is was the band remaining fresh and mobile. Recorded in Dallas with producer John Congleton; it won plenty of plaudits but, perhaps, showed the band had lived through their finest days. The circumstances of the band’s split are not known but one hopes the split is amicable – the brother-like bond one hears in interview and on the stage suggests they were as close away from the microphone as on. It is hard to say but perhaps it is the end of the creative road – let’s hope the members all find successful careers away from Wild Beasts. The tears have only recently dried from the realisation another great British band, The Maccabees, are no longer with us. I play Pelican (from their third (and penultimate) album, Given to the Wild) like I’d read a text from an old lover – remembering the good times and wondering where the hell it all went wrong. As I rock in the shower in a pool of my own tears whilst adopting the foetal position – I thought the sense of loss would not heighten. The Wild Beasts lads might not have the same fanbase and critical appreciation as The Maccabees but, in the way we mourned and reacted to the band’s unwanted split, there are a lot of disgruntled and affected fans of Wild Beasts. They have made an incredible impact on music and their absence will be felt.

There are no other bands that have the same chemistry and songwriting combinations of them. It is pleasing knowing they leave a legacy and have inspired other bands to bring poetry, sophistication and layered compositions together. I am doing Wild Beasts a disservice because there are so many other components and positives that one can preserve. The guys had/have an incredible stage presence and speak so beautifully in interviews – articulate and deep; always fascinating to hear. I hope there are no tensions in the band and there was a consensus to the division – they all need to move on and try new things. I hope, too, there is a Maccabees-style farewell gig from the band. I am not sure when they are officially no more – and whether they release a final single – but that will all come to light. Whilst there is a sombreness and unexpected shock in music right now; the effect the band have had is clear. On Twitter, the likes of Everything Everything (influenced by Wild Beasts) and Zola Blood have shared their sadness. As we say goodbye to a fantastic and inspiring band; we look back at their incredible career and what they have brought to music. Thanks to Wild Beasts for the beautiful, sweaty and sensational music. I am confident we will never… 

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SEE anyone quite like you again!

FEATURE: Flip the Record Over: The Best B-Sides Ever

FEATURE:

 

Flip the Record Over:  

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IN THIS PHOTO: The Beatles

The Best B-Sides Ever

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IT may appear irrelevant in an age where we are…

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IN THIS PHOTO: The Beach Boys

neglecting physical formats and getting our music from streaming sites – but there is a lot to be said about the humble single. There was a day when people used to buy singles and there would be a B-side – I am aware I sound quite patronising; as though this was hundreds of years back. It does feel like a product of an older time but, happily, there are modern artists putting out B-sides. This might be because there is a bit too much material around – not strong enough for an E.P./album but too good to waste – or the chance to retain some of music’s history and tradition.

To me, it allows the listener to hear those less-than-perfect tracks that were cut at the same time (as the album-worthy gems). Because of this, and looking back at some terrific music, it is a chance to show why B-sides should be brought to life. I collate those overlooked songs that definitely stick in the mind…

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Fleetwood Mac - Silver Springs

A-Side: Go Your Own Way

Year of Release: 1976

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Noel Gallagher’s High Flying BirdsRevolution Song

A-Side: Ballad of the Mighty I

Year of Release: 2015

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Bruce Springsteen - Shut Out the Light

A-Side: Born in the U.S.A.

Year of Release: 1984

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The Beatles You Know My Name (Look Up the Number)

A-Side: Let It Be

Year of Release: 1970

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Primal Scream - Velocity Girl

A-Side: Crystal Crescent

Year of Release: 1986

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The Beach Boys - God Only Knows

A-Side: Wouldn’t It Be Nice?

Year of Release: 1966

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Radiohead - Talk Show Host

A-Side: Street Spirit (Fade Out)

Year of Release: 1996

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Oasis - Half the World Away

A-Side: Whatever

Year of Release: 1994

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Booker T & The M.G.'s - Behave Yourself

A-Side: Green Onions

Year of Release: 1962

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Joy DivisionThese Days

A-Side: Love Will Tear Us Apart

Year of Release: 1980

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The Smiths - How Soon Is Now?

A-Side: William, It Was Really Nothing

Year of Release: 1984

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Franz Ferdinand Shopping for Blood

A-Side: Darts of Pleasure

Year of Release: 2003

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The BeatlesI Am the Walrus

A-Side: Hello Goodbye

Year of Release: 1967

FEATURE: The Void: What Is the Point of Music Talent Shows?

FEATURE:

 

 The Void:

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IN THIS PHOTO: Cat Deeley is to host Sky 1's new talent show, Sing: Ultimate A Cappella

What Is the Point of Music Talent Shows?

________

I will bring in a selection of other journalists into…

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IN THIS PHOTO: The judges (and presenter) from The X Factor

this piece because, when it comes to slating reality shows, you can never have enough criticism! This is not going to be a slagging-off-talent-shows-for-the-hell-of-it sort of article: I want to understand why they are popular and whether they hold relevance in 2017. Cat Deeley – someone I have a lot of time for and feel is extraordinary – is fronting a new talent show called Sing: Ultimate A Cappella. The idea behind it is simple: it is a singing contest without instruments; the performer is key and it brings in groups of all varieties. There are a few issues with this initial premise. Saying this is ‘all-new’ would be like saying singing contests are new: this has been done so many times it is formulaic. There will be judges, as you’d come to expect, and I can sense the demographic and demands you’d have of the judges – the ‘mean one’, that liberal and open-minded option; a couple of yes-men/women. Ever since Simon Cowell helped popularise Pop Idol all those years ago – I shall get to that/him in due time – we have been inundated with lazy rehashes. This new singing show is as old and worn as every other one out there. The premise itself is flawed as there is no demand for this type of performers in modern music. I admire – another aspect I shall get to – shows that concentrate on rare aspects of music and do not go for the mainstream. There are newly-devised concepts, more later, that puts a new spin on the format and has originality and purpose. The Cat Deeley-fronted singing/talent show will shine a light on something quite old-fashioned and anti-commercial.

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A capella groups died with the dodo and have not been marketable for many decades. I admire a strong voice but there is not a viable and sustainable market for any a capella artists in this time – we have evolved and music does not proffer this type of sound. The likes of Boyz II Men were an exception but, yeah, it might be nice to see them back in the frame. If, conceivably, a group like that could be discovered – and they chose to refute an army of producers and songwriters – and made music on their own terms; that could spearhead something good. The only trouble is the judges and public will not go for that. What you’ll find, when the show comes to the final episode, the winner will be nothing like that. It will be a young white group that will be instantly – if a record deal is offered – controlled and manipulated by a record label. Even if the singers write their own music: the need to make something commercial and populist will mean they have little say. Also, music talent shows do not put the instruments at the forefront. All of the X Factor/The Voice-type shows focus on the voice – there are backing tracks but you do not have any real instrumentalists or musicians on these shows!

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IN THIS PHOTO: Birmingham band Sons of Pitches team up with Deeley on her new venture

If, God forbid, any talent show should recognise a musician or anyone with an iota of personal talent and distinction – the bedrock of British television will crumble and we will find something genuinely worthy. I have endless affection for Cat Deeley but I feel her consummate professionalism, radiant personality and undeniable talents cannot cover the fact Sing: Ultimate A Cappella is nothing more than a re-derivation of every single singing show of the past decade-or-so – the format, composition and look is a carbon copy of all the talent shows you’ll ever see. I think the show is on Sky 1 but, to be honest, I can already predict its outcome and ending. The reviews will be mixed, at best (the tabloids, no doubt, will love it) and we will be subjected to the same faux-drama, tearful bullsh*t and cloying sentimentality we have had to stomach since the lamentable birth of Pop Idol. It is a sorry time when anything other than criticism and approbation meets the announcement of a singing talent show. I know the ‘winner’ of the show will get a record deal; release an album and never be heard from again – it will get a niche appeal and not see a second album demanded or required. If there is a second series – the blood does run cold – then the outcome will be repeated. I would like to say Sing: Ultimate A Cappella is the last straw that breaks the camel’s back – can we see this ridiculous pantomime and patheticness put to bed?! If Cat Deeley’s long-awaited return to our screens is a thing to celebrate: the substandard ship she is expected to sail will sink without trace.

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An argument that states another failed singing enterprise would see the cure of a rife T.V. disease is as full of holes as a cheesegrater’s jockstrap. We have seen dozens of the sodding shows around the world and, despite critical attack and a distinct lack of place. Anyone who respects and loves music is driving away spirits that go for manufactured and cheap artists. We are struggling to breed those who have a real voice and anything significant to say. Pouring fuel on the fire of reality/singing T.V. shows is going to scar the music industry beyond recognition. Those who hate these shows rebel against it but it is almost the done thing for singers and artists to appear on these shows. I know artists who have performed/auditioned and always wonder why. It is never, as some claim, a good experience and harmless fun. At the back of the mind is that lure for fame and the sheen of T.V. – wanting their faces out there and getting a quick buck. I suspect the realities and poor living conditions of music are behind the desperation to get on these shows.

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Musicians/singers have little chance for long-term success in an industry that is rival-hungry and shoulder-deep. Getting a record deal is near-impossible and forging an enduring career is even harder. Unsigned acts can make money through touring but, with venues closing around us, how much are they really making?! I do worry many realise how fraught and fractured music is and the only way to have any sort of career is through the cheap option. The thing is, when it comes to the contestants, their careers will never be long or inspiring. I have followed these shows since the beginning – the current trend (I know singing shows have been on T.V. for a lot longer) – and always wonder what happens to those who win the shows. Their albums come out and they rarely survive: those who do are never the best you’ll hear. How many of us, on a daily basis, would like to hear Olly Murs, Will Young; Leona Lewis or…hmmm…thought I could name a fourth! That’s the issue, you see: try and rattle-off a list of the winners and one will struggle (I am not actually sure if all of them WON, to be fair). That is another thing: if the runners-up and outsiders get more attention and success than the winners then what is the point of staging it as a competition?! The obituary of the singing contest format is there ready to be stamped. Talk about flogging a dead horse!  Before I conclude; I’ll look at others’ opinions and why I feel those underground/unique shows – that have the same intention as the mainstream shows – need greater oxygenation.

Nadia Khomami, writing for The Guardian, reviewed the recent opening episode of this year’s X Factor:

Saturday night viewing has long been dominated by the battle between X Factor and Strictly Come Dancing, but with ratings for Simon Cowell’s music show at a record low, and an underwhelming line-up for the latest Strictly, the fight may be turning into one simply for survival.

Last Saturday’s launch of the X Factor had the lowest ratings for a debut episode since it first aired in 2004, with an average of 6 million viewers and a peak of 6.9 million for the ITV talent contest judged by Cowell, Nicole Scherzinger, Sharon Osbourne and Louis Walsh.

The numbers were slightly better on Sunday with 6.5 million tuning in. But while both episodes made the X Factor the most-watched programme of the night, it continued the downward trend given the 2011 launch show pulled in 10.8 million viewers. Last year’s final was also the least-watched since the one in 2004.

“Contest formats have had remarkable longevity, and it’s natural that they’re going to tail off,” said Tom Harrington, a TV research analyst at Enders. “I wouldn’t say it’s a tired format, but it is becoming less interesting. Audiences had become overexposed to such shows”.

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Is it, as the article suggests, a case of over-exposure and familiarity? Have we become so attuned to the endless cavalcade of T.V. singing shows that the core audiences are the only remaining – and the casual viewer prefers to watch something with a bit more clout? There are those who say the issues is not resigned to singing/music alone. I am one of a few who cannot stomach the likes of Strictly Come Dancing. I will not argue why that format is as flawed as The Voice, let’s say, but, for me, there are too many dance-related shows shooting up – every successful format has imitators and those who want to take it in a new direction. The difference is we are not being forced to buy dancers and what they do. We have to endure these talent show contestants putting their music out and vying for our attention – this is never the case with dance troupes and the Strictly contestants. Many could say there is pointlessness to shows where the winner is not taking further and takes part for the fun of it. The fact Strictly Come Dancing does not have that commercial edge and need to launch a star into the ether makes it a more popular option with viewers – happy to tune in and not find the future exposure of a satanic chart-hogging drone.

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IN THIS PHOTO: One of this year's X Factor contestants, Berget Lewis

Another piece, that also investigated the opening episode of 2017’s X Factor, took a different stance:

Cowell’s secret weapon in giving heart to his shows has always been the emotions of ordinary people. Whether it’s the grateful tears of a stardom-bound teen, or the grief of the contestant given more screentime if they’ll talk about their lost loved one. As an audience we need the emotional meat to bite into or it’s just the thin gruel of differently-abled singers.

But it was Cowell’s own anguish that provided the emotional full stop to Sunday’s episode. While filming the auditions in July, it was reported that his mother had died. He said she would want him to continue with the show and was back at auditions shortly afterwards. Although it wasn’t verbalised, the curious end to Sunday’s episode showed Cowell, just after an expressive audition from a young man whose best friend had died, breaking away from his fellow judges, apparently crying. Fernandez-Versini looked concerned and audibly dithered about whether to go after him. She didn’t and he disappeared off, a secret anguish lurking behind his aviators as the camera lingered on him.

The decision to wordlessly include his personal loss in the show is an odd one. But it does explain why he has had no compunction about using the sadness of others in this way. It’s all showbiz.

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IN THIS PHOTO: The current judging panel of The Voice

There is, I am well aware, a good way of making all these shows go away: turn the T.V. off! That is all well and good but my objection is not to their mere presence. My issue surrounds what they are doing to music and what they are telling young artists. Shows like The X Factor and The Voice are using their platform to embarrass and exploit young artists. I guess they know what it is all about but (the shows) are pulpits for harsh scrutiny, ritual tension and false ideals. Even if a show takes a ‘nice’ approach and goes easy on a contestant, one has to wonder whether this is being truthful and honest. The flip of the coin is the likes of Simon Cowell; someone who revels in his role as T.V.’s pantomime dame. He gets off on coruscating and chiding singers and reeling off his tired and copy-and-paste barbs. We can block the shows from our T.V. but that does not expunge them from the world. I am getting depressed by the artists I come across who have appeared on talent shows and highlight it as a career-high. That is worrying to hear and something that is making me sceptical about the future-potential of music. If artists who, I feel, could go far are saying they willingly go on to shows like The Voice then that makes me question my own values. Back in 2012, when there was a lot of criticism levied at T.V. talent shows, NME ran a piece:

“…However, the negatives that are levelled at The X Factor are misguided. The stress, bullying and vapidity that comes with it is not unique to Simon Cowell’s theatre of pop – all the X Factor is doing is televising what the music industry is like behind closed doors. If you’re in a supposedly credible indie band, you’ll be jumping through the same hoops as someone like JLS. It’s a grim, shit-flecked world behind the veneer of the records you like and, somehow, Simon Cowell has turned the ogre-ish world of music into a successful entertainment programme that, basically, is to music what wrestling is to professional sport.

However, the negatives that are levelled at The X Factor are misguided. The stress, bullying and vapidity that comes with it is not unique to Simon Cowell’s theatre of pop – all the X Factor is doing is televising what the music industry is like behind closed doors. If you’re in a supposedly credible indie band, you’ll be jumping through the same hoops as someone like JLS. It’s a grim, shit-flecked world behind the veneer of the records you like and, somehow, Simon Cowell has turned the ogre-ish world of music into a successful entertainment programme that, basically, is to music what wrestling is to professional sport.

That said, there’s nothing wrong with enjoying WWE, just like there’s nothing wrong with The X Factor. Yet, time and time again, the same half-baked criticisms are levelled at it. Cher Lloyd, this weekend, was bottled off stage at V Festival. Of course, bottling anyone off stage is an act of supreme cowardice because there’s always a better option (that option being that you can walk away and do something else, especially at a festival and, if your best option is to stand and watch someone you hate, then you’ve been an idiot for buying tickets to a festival with an awful line-up).

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IN THIS PHOTO: The Queen of Soul, Aretha Franklin

So what if these acts don’t write their own music? Neither did Aretha Franklin. The Supremes didn’t write any of their greatest songs, yet, Chris De Burgh wrote every single foetid note of his. The assumption that ‘the best’ write their own material is bunkum. Just ask Elvis Presley.

Maybe the problem is that the process of graduating from a talent show is galling? The ‘best’ bands cut their teeth without them and rise to the top by sheer talent alone, right? Well, there are a huge number of acts that have graduated from talent shows. The Zombies won a record deal through a rigged talent show way back when. Ella Fitzgerald, Gladys Knight, James Brown and Michael Jackson all graduated from talent spots in Harlem. Are they lesser artists because they didn’t play the toilet bowl circuit for years?

I agree that shows like The X Factor are simply opening eyes to what happens behind these closed doors but that is not a good thing. One can write an article about bad practices and exploitation. These shows are not ironically doing the same and making practical and important changes. Their ethos is to popularise and promulgate something seedy, commercial and cruel. It is not impressive and progressive creating shows that elevate the worst facets of music: it is contemptuous, pointless and offensive. Again, when the journalist talked about certain artists getting their break through these talent shows; I am full aware some great artists appeared on talent shows and went to music school. They are rare exceptions and, to be fair, the fact they have endured has nothing to do with those appearances – they did that with huge talent and originality.

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IN THIS PHOTO: Let It Shine was not renewed for a second series/PHOTO CREDIT: Guy Levy/BBC

If there was a singing/music show that proffered artists and then let them get on with things then I’d be all for it. Artists like The Zombies did not succeed because of their talent show appearances nor did they take great pride from those times. These are rare exceptions and the vast majority of great artists did not go on talent/singing shows – how many legendary and reputable acts do you know who did?! I argue against the point that challenges the songwriting chops of the talent (on reality shows). Michael Jackson and Aretha Franklin did not go on T.V. talent shows and put themselves in front of millions. There is a huge gulf between local talent ‘spots’ and televised circuses. Tonnes of great musicians go to battle-of-the-bands gigs and local talent contests. That is a different thing and has little in common with The Voice, for instance. Again; these acts used this as a platform and managed to ensure they were successful because of their own minds, direction and talent. If they had been given record deals off the back of their talent contest times then they would have been controlled and extinguished within a short space of time. Getting back to my point and one cannot say there is any parallel between Michael Jackson and Aretha Franklin – who often use co-writers and sing rather than write. I know Eva Cassidy did not write her own songs and loads of top-notch artists had other writers. I am not debating that but I am not saying those who write their own material is best.

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IN THIS PHOTO: Singer Fleur East has performed on The X Factor a number of times - and not translated that exposure to a popular and notable career

The fact Elvis Presley, Gladys Knight and Aretha Franklin did not write their music does not hide the fact they became iconic because of their personalities, voices and potency. I do not object to T.V. show contestants not penning their own stuff. If the material they are singing is great then that is the main thing; if they have a driving and inspiring façade then that sticks; if they can inspire others and stand out from the crowd then that wins me – none of this is true; nobody who ever appears on singing shows will ever have anything like as much talent as Presley or Knight. These artists would not be seen dead on these shows so making any comparisons is pointless and misjudged. I accept there are a few good points to T.V. singing shows. For one, it does appeal to a certain audience who likes their music less potent and a bit more manufactured. They are entitled to their views and tastes so we cannot deny them. It is the sheer number of these shows that galls me. Two is bad enough – The Voice and The X Factor – but we have Sing: Ultimate A Cappella, Pitch Battle and God knows how many filtering through every channel you can imagine. I have heard there’s a few underground options that have the talent show aspect at heart but strip away all the cruelty, commercial and crass.

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I am not sure if they have seen the light of day but the idea is to focus on bands/musicians who play their own stuff – whether self-penned or not; it focuses on authentic players – and gives them a record deal at the end. The voting is done by those who watch the acts in each show (a live audience) and the winner gets to make music on their own terms. Maybe I dreamt it but I know there are shows not that dissimilar that have been trialled. The way things are is not good as it is maddening to see T.V. singing shows survive and mutate. I am not against all talent shows but think, if you want credible music-lovers and the jaded masses to come in; offer something that takes the histrionics and emotion away and features musicians. They do not have to perform instruments necessarily but showcase artists that at least write their own material. Open it up in terms of genres – the T.V. options are too Pop-driven – and take away the farcical judging element. Have judges but staff the panel with proper music professional or fellow performers that know what music needs right now. If we had a couple of these variations – and stopped it there before too many said the same thing – that could replace the current order and make the T.V. singing talent show a watchable, worthy and wonderful thing. What we have now is so tired, horrid and pointless it is highlighting what fatigue there is in music. There is not a popular demand for the here-today-gone-tomorrow merchants and these brief careers. Eliminate the format and, if we are to have any singing/music talent shows on T.V., make sure they are formats that show up the…

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PHOTO CREDIT: Unsplash

BEST and most beautiful in music

FEATURE: RedWineHead: Cool Artists to Watch in 2018  

FEATURE:

 

 RedWineHead:

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IN THIS PHOTO: The Big Moon/PHOTO CREDIT: Lauren Maccabee

Cool Artists to Watch in 2018  

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THIS is a busy day for me in terms of writing…

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IN THIS PHOTO: MALAIKA

but I wanted to start off by highlighting a few artists, I think, will be a big deal in 2018. I will do another such compilation later this year but it is worth giving backing to acts that have already made an impression – and look set to do so as we creep towards 2018.

I am excited discovering such an eclectic and promising bunch of peeps. Without further ado; a rundown of groups and artists that are going to make some waves next year….

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PHOTO CREDIT: Emma Swann

Milk Teeth

Location: Stroud

Snippet:

(An interview the band conducted with DIY)

Set in the middle of endless green, sheep-flecked hills, Stroud – a market town in Gloucestershire – is the sort of place where it’s entirely reasonable to find a different vegetarian cafe serving variations of tofu every second step. People pairing tweed suits with monocles isn’t even considered outlandish in these parts, and nightlife-wise, there’s a single sticky-floored club called Warehouse with a light-up dancefloor. Otherwise, the local music scene consists of born and bred bands gigging around the pub circuit, a man dressed as a jester playing keyboard covers on the high street, and the occasional failed attempt at hosting rural music festivals; before the fields are overrun with underage cider-swiggers, that is, and the whole thing gets closed down.

An anomaly to Stroud’s decidedly quiet reputation are Milk Teeth. Breaking the countryside hush with their raucous debut album ‘Vile Child’ last year, the band left behind their tranquil hometown to make a right beautiful racket around the world, supporting a dream roll-call of acts – from Refused and Against Me! to rising cult heroes Creeper – along the way. Now back where it all began, Milk Teeth are sat around their beloved park bandstand where they host regular meetings. Inexplicably, somebody nearby has a tame owl perched on their arm. A gaggle of baby swans are drifting lazily down a stream. And Becky Blomfield – Milk Teeth’s chief vocalist and bass-wielder – would quite like a cider, to be honest. “There’s a Tesco across there,” she says. “I’m down”.

Twitter: https://twitter.com/MILKTEETHPUNX

Facebook: https://www.facebook.com/milkteethpunx/

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MALAIKA

Location: Leeds

About:

"Originally hailing from Belfast and now residing in Leeds, Malaika’s saccharine vocals and jazz inspired melodies have quickly turned heads across the UK. After winning ‘Best Jazz/Blues Act’ at this year’s Unsigned Music Awards last month and supporting pop-soul sensation JONES on some of her Autumn tour dates, it’s no surprise why so many industry insiders are tipping Malaika as ‘one to watch’ for 2017 ."

Follow: https://www.malaikamusicuk.com/

Twitter: https://twitter.com/malaikamusicuk

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Pale Waves

Location: Manchester

Snippet:

(An interview lead Heather Baron-Gracie conducted with NME)

Where do you see your band in five years?

“We want to have a Number One album. We just want to grow and be playing sold-out tours. I reckon we can do it. You’ve got to be positive and optimistic. We’re all in.”

Follow: http://www.palewaves.co.uk/

Twitter: https://twitter.com/palewaves

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Sofi Tukker

Location: New York

Snippet:

(An interview Sophie and Tucker conducted with NNW)

NNW: Your music has a lot of different sounds that make it hard to describe with just one genre. Is that something you set out to do?

T: I don’t think intentionally we were like, “Let’s make a genre bending thing.” I think we sort of just made it and thought it would be some artsy niche thing and then more people liked it and listened to it than we thought.

S: Most people called it Pop.

T: We don’t really know what to call it but we like that. A lot of our new songs are I think equally as hard to categorize but in totally different ways and it’s fun. We just get to be creative and do stuff that people aren’t used to hearing things together. We just kind of do whatever we want and if we like it we hope other people will like it.

S: It doesn’t mean anything is off limits.

Follow: https://www.facebook.com/sofitukker/

Twitter: https://twitter.com/sofitukker

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Ms Banks

Location: London

Snippet:

(Exert taken from Source)

"Ms Banks, a South London native of Nigerian and Ugandan heritage, brings her own unique perspective to the UK Grime scene. Her rhymes are authoritative in nature and speak on her experiences growing up in the ‘hood with a predominantly male circle. Banks smokes weed, finds it uncomfortable presenting herself in an overtly sexual way and loves a challenge, but prefers to keep things classy. These traits make her stand out in an industry determined to make her fill the feminine stereotype. She feels that her gender only boosts her popularity and isn’t worried about breaking into a male-dominated industry.

Ms Banks has been rapping since she was 12 years old, inspired by her uncle who used to rap over drum and bass beats. Her real name is Thyra with a silent H, so the comparisons to the American supermodel turned businesswoman were inevitable. Adding the Ms to the Banks was her way of formalizing her take on the name and Ms Banks was born. She began songwriting at the age of 15 to vent her experiences and help herself through troubled times. These songs formed her debut mixtape Once Upon A Grind, which came out in 2014.

Her big break later came when her radio host friend encouraged her to start recording in the studio at 18. From there, she was invited to open mic nights and started to build her social media presence, including posting popular covers on YouTube. Since then she has collaborated with the likes of Tinie Tempah and JME and stacked up quite a few awards. At this point she is happy to be an independent artist and doesn’t want to sign to a major label anytime soon".

Facebook: https://www.facebook.com/msbanks94/

Twitter: https://twitter.com/MsBanks94

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Goat Girl

Location: London

Snippet:

(An interview the band conducted with DIY)

Unassuming they may be, but “shit” is one thing they’re not. What began as a folk group boasting “three part harmonies and guitars” has gone on to become one of the most talked-about new bands – an impressive feat for a group with only two songs released under their collective name. It’s been a natural evolution, one that’s landed the outfit in the middle of a whirlwind of South London-stamped hype – not that they’re paying their acclaim any attention. “It’s good not to look into it too much,” Ellie - who also goes by ‘L.E.D.’, because why not - ponders. “It’s just a natural thing. We didn’t decide to form a band, we just all like making music with each other.” Being touted for great things right from the word go isn’t that uncommon. While Goat Girl sound sure to be on the path to something spectacular, the group make no illusions about where they find themselves right now. “I think that record labels want to snatch up ‘the next big thing,’” Lottie considers. “They’re trying to find this new scene that’s happening with the younger generation.”

Spotifyhttps://open.spotify.com/artist/1ukEEwzjucRtFTxiw2DrDZ

Facebook: https://www.facebook.com/goatgirlofficial/

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PHOTO CREDIT: Steph Wilson

ALASKALASKA

Location: London

Snippet:

(An exert from an interview the band conducted with DIY)

"ALASKALASKA only formed a year and a half ago, but already this six-piece have built a cult following from a handful of dates in their native London. Short but sweet, these low-key shows are rammed with sweaty punters all raving to a monstrous groove. Everyone leaves elated, totally enraptured with the band’s jazz-infused art-pop that blends disco, funk and R&B into a rambunctious new sound. Anything but the icy exterior their name suggests".

SoundCloud: https://soundcloud.com/alaskalaskamusic

Facebook: https://www.facebook.com/alaskalaskamusic/

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Caleb Kunle

Location: Dublin

About:

"Born in Lagos, Nigeria where he spent his childhood as well as Laois, Ireland. In Ireland at the age of 8 Caleb Kunle began writing music whilst participating in several choirs. 
At age 10 Caleb was part of a urban music group named "Illrics", under the alias "Lyrical Kingpin" he rapped whilst adding soulful melodic chorus to compliment the hardcore hip-hop vibe of the group. The group lasted for 4 years, leaving them with an unreleased album and a lifetime of experience.

Caleb Kunle branched into more electronic sounds, which lead to the project titled "When I was 17". Seeking more diversity he began playing the guitar and branched into his current sound, Soul-Afro-Electro Pop".

SoundCloud: https://soundcloud.com/calebkunle

Facebook: https://www.facebook.com/CalebKunle/

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GIRLI

Location: London

Snippet:

(An exert from an interview GIRLI conducted with The National Student)

Despite dressing head to toe in bubblegum style, GIRLI’s sickly-sweet pop couldn’t be further from sugar 'n' spice and all things nice—videogame melodies and autobiographical lyrics create an angsty cyber-pop cocktail that breaks convention. The opposite of a wallflower, the London-based singer/rapper/producer’s tunes demand as much attention as her neon pink hair and eyebrow combo.

Citing her influences as “Riot grrrl and punk bands like The Slits and Blondie, rappers like M.I.A, lyricists like The Streets and Arctic Monkeys” the self-proclaimed sassy songstress started making music when she was 15.

“I wanted to do something where I could perform and say shit I wanted to say, it was a trial to see if I could express what I wanted to in that way.”

Follow: http://www.girlimusic.com/

 Facebook: https://www.facebook.com/girlimusic/

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Wildwood Kin

Location: Exeter

Snippet:

(An exert from an interview Wildwood Kin condcuted with HMV)

You can understand the Haim comparisons with trio Wildwood Kin. Comprised of sisters Emilie and Beth Key and cousin Meghan Loney, the band have the same close-knit harmonies and turn for a catchy chorus as the Haim sisters, but there's something a lot more British about this threesome, more steeped in early folk and country.

They release their debut album Turning Tides today and we sat down with them to find out how it all came together... 

How did the experience of making your debut album compare to what you’d imagined it would be?

"When we started recording, we'd actually set out to record an EP because we'd had some older songs that we were desperate to record, but soon after starting to record and experiment with newer sounds, we were encouraged to write for a full debut album. At first, it was quite daunting, a debut album is a massive thing, but we've taken our time over it and are really excited to share it with everyone!"

Follow: https://wildwoodkin.co.uk/

Facebook: https://www.facebook.com/wildwoodkin/

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Skinny Living

Location: Wakefield

Snippet:

(An exert from an interview singer Ryan Johnston conducted with Yorkshire Evening Post)

Last year Skinny Living released an EP called 3 on their own label; they also gained their first taste of playing on a bigger stage when selected to support Jake Bugg at the First Direct Arena. “When we all got on stage it was so calm, we all felt really comfortable, which is strange because in a lot of other gigs we’ve felt more anxious before we got on stage,” Johnston says. “It felt like the bigger stage was more comfortable because you could move around. When we walked out in the crowd there was all these people screaming at us, so I think it was just that moment of everyone being really excited and us feeling welcome on the stage and them wanting to hear us play. It set the bar for us and we’ve been chasing that buzz ever since.”

Twitter: https://twitter.com/SkinnyLivingUK

 Facebook: https://www.facebook.com/SkinnyLivingUK/

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PHOTO CREDIT: Sonja Horsman (for the Observer)

HMLTD

Location: London

Snippet:

(An exert from an interview the band conducted with The Guardian)

Blinking into the sunlight for an interview are British frontman Henry Spychalski (mullet and eyebrows dyed blue, cut-glass accent, wearing a military cap and sunglasses), guitarist Duke from Paris (silver nail polish, leopard-pattern buzzcut, nifty moustache), and drummer Achilleas from Athens (flowing dark curls, piercing stare intensified with eyeshadow); left in the studio are guitarist James, bassist Nico and keyboardist Zac (most of them prefer not to use their surnames).

While hip-hop and R&B have been flourishing, in recent years much rock music has been floundering towards irrelevance. How can they make a bunch of men with guitars exciting again? “For a long time now guitar music has been looking backwards instead of trying to recontextualise itself,” says Spychalski. “It hasn’t been paying attention to what’s happening in trap and hip-hop and electronic music, so it hasn’t kept up with how the majority of people look at music.”

One solution is subverting listeners’ expectations within each song: their first single Stained starts as playful camp rock, morphs into a dramatic postpunk anthem, and culminates in an all-out feast of noise and distortion, courtesy of a sample from experimental hip-hop group Death Grips. “People’s attention spans are a lot shorter than they used to be,” says Spychalski. “With streaming you listen to about half a song and then flip to another one. So it’s important that our music flips between a lot of different things, or else people are going to turn to something else”.

SoundCloud: https://soundcloud.com/happy-meal-ltd

Facebook: https://www.facebook.com/HMLTD/

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Terror Jr.

Location: U.S.A.

Snippet:

(An exert from a piece by Riverbeats)

Terror Jr. appeared seemingly out of nowhere back in March 2016. Their song, “3 Strikes” was featured in Kylie Jenner’s advert for her lip-gloss line which premiered that fateful Thursday. That very same day, the group made their first tweet, declaring themselves “Born”, posted their first Instagrampicture, and uploaded the aforementioned song to their newly created Soundcloud.

This, along with a handful of other potential clues, led fans and critics alike to speculate that Lisa Terror was actually Jenner herself. The theory circulated strongly for a while, but was dismissed by the band and Jenner.

Terror Jr. is presently signed to the new collective, EFFESS, which Singer-Vine runs with Snow. The name itself is a play on Snow’s initials and stands for “Every Fucking Feeling Equals Something Special”. From Kiiara, to Gallant, to SZARita Ora and more, Snow and Singer-Vine’s combined experiences and skills are amplified when they work together and Terror Jr.is no exception.

Their sound is a fusion of dreamy yet sometimes darker dream-pop colored with plenty of references to drugs and sex, all laid over bright synths and and occasional heavy bass work with plenty of saccharine autotuning to top it all off. The imagery they employ to accompany their albums is quite fascinating”.

Twitter: https://twitter.com/terrorjrmusic

Facebook: https://www.facebook.com/Terrorjrmusic/

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Dream Wife

Location: London

About:

The pop punk trio - Alice, Bella & Rakel - Dream Wife formed within the walls of art university in Brighton. When they left uni that's when the rocky roads of Dream Wife kicked in full speed: Their reputation as one of the best new live bands in London is already cemented following tours with Sleigh Bells, The Kills and their recent US triumphant stateside debut on tour at SXSW which earned them praise from NPR, DIY, Stereogum, Nylon, Entertainment Weekly etc. Armed with razor sharp pop tunes and a take no prisoners punk attitude they’re are known to elicit pure chaos at their raucous live shows.

Follow: http://dreamwife.co/

Facebook: https://www.facebook.com/dreamwifedream/

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The Big Moon

Location: London

Snippet:

(An exert from an interview the band conducted with Interview Magazine)

In 2013 Juliette Jackson was waitressing at a cocktail bar in London, writing songs on the side and seeking out a band that needed a bass player. She'd been in groups before but had never been the songwriter or frontperson, so the prospect of either seemed like a stretch. When she hit a wall ("Nobody needed a bass player," she recalls) and widened her search—she asked friends and friends of friends if they knew anyone who played an instrument or wanted to learn how—she found three collaborators: Celia Archer (bass, vocals), Soph Nathan (guitar, vocals), and Fern Ford (percussion). Together they formed the Big Moon in 2014, but before they sat down for pints and to practice, a tracklist was already in the works: "It took me quite a long time to find everyone, or to build up the courage to try to find everyone," explains Jackson, who became the band's lead vocalist and one of its guitarists. "So we had five or six songs before we even existed." 

Last week the four-piece released their debut LP, Love in the 4th Dimension(StarTime International/Columbia). Recorded live, it's a playful and boisterous indie rock record that satisfies an itch for self-revealing, relatable songs and invites the listener to jump around. Interview recently spoke to Jackson and Archer by phone ahead of the album's release, before the band came to the U.S. to perform at SXSW for the first time. They were dreaming of what they'd drink (beer, margaritas), what they'd eat (Mexican food, Doritos), what they'd wear (shorts), and the prospect of meeting celebrities (like Snoop Dogg or President Obama, who both have a standing offer for a free the Big Moon T-shirt.)”.

Twitter: https://twitter.com/commoonicate

Facebook: https://www.facebook.com/commoonicate/

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IDLES

Location: Bristol

About:

IDLES met as a quintet at the death of the indie scene in Bristol and began making visceral and sometimes unlistenable post-punk to a growing crowd. They began with their own club night Batcave and practicing religiously until they felt they had found their sound and their live show; with that in check they have now completed their first album and are savaged in hunger to play their music. They want to give themselves and their art to the audience in a concise and violent way unrivalled by their peers. They have no qualms in terrifying and entertaining in the same breath. They celebrate their influences in a vitriolic and belligerent sound that is both familiar and new. They are a nose-bleed on the ears and they're here to show you they care”.

Official: http://www.idlesband.com/

Twitter: https://twitter.com/idlesband

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Betta Lemme

Location: New York

About:

A Montreal Native of Italian origins, Betta Lemme is a vocalist, songwriter and producer. Betta quickly learned to play any instrument set in front of her. Her three native tongues of English, French and Italian have been incorporated into her music and elusive disposition. Betta made her recording debut as a featured vocalist and writer on Sofi Tukker's "AWOO”.

Follow: https://www.bettalemme.com/

Facebook: https://www.facebook.com/bettalemme/

FEATURE: Beauty in an Age of Denial: Some of the Most Striking Music Venues in Britain

FEATURE:

 

 Beauty in an Age of Denial:

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IN THIS PHOTO: Belfast's Empire Music Hall

Some of the Most Striking Music Venues in Britain

________

EVERY band and artist who is compiling their tour dates…

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IN THIS PHOTO: The exterior to Wilton's Music Hall, London

tries to get out there and bring their music to a range of people – at different-sized spots that are easy to conquer and impress. Maybe it is a lack of cachet and name – but few artists have the opportunity flex their musical muscles at some of those immaculate, eye-opening venues around the U.K. I have found, every time an artist doe gig at such a spot, the reaction is the same: their minds are blown and it goes down in their memory for years.

I am interested in these incredible locations and why more musicians do not play them. Maybe it is the reverence and dignity – any music might defile the quietness and splendour of the surroundings. Any new act looking for a nine-date series of gigs (perhaps with two dates at the best venue) would do themselves good to investigate these wonderful locations.

(All biographical information about the venues taken from their official website/Wikipedia)

_________

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Leeds Town Hall

Location: Leeds

About:

Until early 1813, the Moot Hall at the top of Briggate was the seat of Leeds Corporation and was used for judicial purposes. It was replaced by a new court house on Park Row, Leeds.

Leeds went through a period of rapid growth in the first half of the 19th century and by the mid-19th century it became apparent that the court house was no longer large enough for the functions it performed. In July 1850, Leeds Borough Council decided to build a new town hall and established a committee to assess the opinions of Leeds' inhabitants as to the building of a new municipal hall.

In order to finance the town hall, the council proposed to sell shares in the building to the value of £10 but the proposal failed. The council then proposed introducing a specific rate levied to fund its construction although it was not introduced until after the November 1850 local election, and most residents who would have paid the tax at the time lacked voting rights. The town hall was approved in January 1851 when Alderman Hepper put the motion to the council and it was carried by 24 votes to 12.[2] It was intended to represent Leeds' emergence as an important industrial centre during the Industrial Revolution and symbolize civic pride and confidence”.

Follow: https://www.leedstownhall.co.uk/

Twitter: https://twitter.com/LeedsTownHall

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The Empire Music Hall

Location: Belfast

About:

There are ample spaces one can appreciate beauty and stunning architecture – it is a city that continues to reveal a colourful crysalise. Ulster Hall is one such venue but one cannot ignore the Empire Music Hall. It has that Wild West-esque theme and one half expects an old piano to play itself – as can-can girls entertain the enraptured crowds. Arcane Roots The Dears and Low have played there – it is a hot and popular stop-off for some of music’s most captivating talent.

Follow: http://www.thebelfastempire.com/

Twitter: https://twitter.com/belfastEmpire

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Wigmore Hall

Location: London

About:

Wigmore Hall, one of the world’s great concert halls, specialises in chamber and instrumental music, early music and song.

Having recently celebrated its 115th Birthday, Wigmore Hall is livelier than ever, offering music-making of outstanding quality and an array of activities in the broader community. With its infectious sense of adventure, it consistently captures the public imagination and broadens its audiences’ horizons.

Wigmore Hall’s focus is on great musical works, best experienced with a powerful sense of immediacy. The repertoire extends 250 years on either side of Beethoven (born 1770) – from the Renaissance to contemporary jazz and new commissions from today’s most exciting composers.

Bringing this music to life are the world’s most sought-after soloists and chamber musicians. Wigmore Hall also provides a showcase for exceptional young artists — some making their professional London debuts — and remains an essential platform as their careers flourish”.

Follow: https://wigmore-hall.org.uk/

Twitter: https://twitter.com/wigmore_hall

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Royal Lyceum Theatre

Location: Edinburgh

About:

The Royal Lyceum Theatre Company is Scotland’s leading producing theatre. With a strong reputation for excellence in classical, contemporary and community work. The Lyceum is committed to developing Scotland’s considerable indigenous talents while presenting the best of international drama. In Season 2016/17, under new Artistic Director David Greig, the company is producing 10 full productions making it one of the largest producing companies in the United Kingdom.

The company has been resident at the Royal Lyceum Theatre since 1965 and has been shaped by artistic and associate directors including Tom Fleming, Ian Woolridge, Kenny Ireland, Bill Bryden and Richard Eyre. Throughout its long history, the company has welcomed many stars to its stage including David Tennant, Alan Cumming and Emily Mortimer to Tony Conti, Ian McKellan and Marlene Dietrich. In Season 2015/16 the company celebrated its 50th anniversary with an acclaimed season programmed by outgoing artistic director Mark Thomson which included the award-winning, sell-out return of Brian Cox & Bill Patterson to the Scottish stage in Samuel Beckett's Waiting for Godot”.

Follow: https://lyceum.org.uk/

Twitter: https://twitter.com/lyceumtheatre

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Wilton’s Music Hall

Location: London

About:

Wilton’s Music Hall is a gem in the heart of London and the oldest grand music hall in the world. It presents a year round programme of exceptional live music and world-class productions alongside learning and participation work that engages the local community and schools. 

The Grade 2 Star listed building recently completed a 4 year capital project with support from Heritage Lottery Fund and numerous trusts and individuals. This project, designed by Tim Ronalds Architects, recently won a RIBA 2016 National Award, RIBA London Award 2016, RIBA London Conservation Award 2016 and RIBA London Building Of The Year 2016.

Follow: https://www.wiltons.org.uk/

Twitter: https://twitter.com/WiltonMusicHall

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PHOTO CREDIT: Getty Images

Bombed Out Church

Location: Liverpool

About:

Since 2007 the church has been operating as a managed ruin and multidisciplinary arts venue with a programme of curated events, community engagement and creative learning projects. A gateway building within the city, crucial to both its past and present, the Bombed Out Church is a place for everyone. 

A committed team from diverse backgrounds have devoted tens of thousands of hours to keeping St Luke's Church open to the public and reinvigorated by the arts. Bombed Out Church has been supported on its route to international recognition by a dedicated community of friends and volunteers as well as notable names such as Paul McCartney and Yoko Ono. Together, Bombed Out Church stands as testament to history and to the spirit of Liverpool”.

Follow: http://www.bombedoutchurch.com/

Twitter: https://twitter.com/bombedoutchurch

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St. Martin-in-the-Fields

Location: London

About:

St Martin-in-the-Fields is a landmark church in the heart of London. It is a hospitable, vibrant and forward thinking community with worship at its heart. Located on the northeast corner of Trafalgar Square, St Martin-in-the-Fields is steeped in beautiful Georgian architecture which has been imitated across the world.

Whether you are joining us for worship, enjoying a delicious apple crumble in the Cafe in the Crypt, or relaxing to classical music in a candlelit church, St Martin’s offers everyone a warm welcome in the heart of London”.

Follow: http://www.stmartin-in-the-fields.org/

Twitter: https://twitter.com/smitf_london

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Wylam Brewery

Location: Newcastle-upon-Tyne

About:

Our home at the Palace of Art in Exhibition Park is the last remaining building from the 1929 North East Exhibition. The Exhibition was an ambitious project built to celebrate and encourage Craft, Art and Industry at the start of the Great Depression.

Having remained almost derelict for nearly a decade the building has sprung back to life as a fully operational working Brewery.

Alongside the Brewery there is a Brewery Tap, which is open to the public Thursdays to Sundays inclusive.

The Grand Hall plays host to Live Music, Weddings, Pop Up Events and more …

Church music is provided by a professional quartet of singers at Sunday morning services and a voluntary choir at Evensong. The voluntary choir, open to all, sings regularly on Sunday Evenings and has up to 24 members. The choir was started in 2005 by the current Director of Music, Jonathan Bunney. The voluntary choir has sung at Guildford Cathedral and further cathedral visits are planned for the future.[10]

Current churchwardens are Thomas Hardin and Wil James.

St Giles is pleased to play host to companion groups who provide food and drink for the body, mind and spirit. From 2pm to 4pm on Saturdays and from 1.15pm to 3.15pm on Sundays the Simon Community hold a mobile street café in the north churchyard to dispense tea, coffee, sandwiches, fruit, cake and words of advice, seeking to reach out to the most unreachable.[11] During the week, various self-help groups, such as Alcoholics Anonymous and Narcotics Anonymous, meet upon church premises to assist those with addictions”.

Follow: http://www.wylambrewery.co.uk/

Twitter: https://twitter.com/wylambrewery/

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PHOTO CREDIT: Tom Oldham

The House of St. Barnabas

Location: London

About:

Our home at the Palace of Art in Exhibition Park is the last remaining building from the The House of St Barnabas, at 1 Greek StreetSoho, is a Grade I Listed Georgian building in London[1] notable for its rococo plasterworkinteriors and for other architectural features.

Since 1862 the House has been run as a charity to help those who have experienced homelessness.[2] The name of the organisation was changed from the "House of Charity" to the "House of St Barnabas" in 1951.[3] The building functioned as a hostel for women until 2006.[4]

The not-for-profit members' club at The House of St Barnabas opened in October 2013”.

Follow: https://hosb.org.uk/

Twitter: https://twitter.com/hostbarnabas

FEATURE: The Paperless Music Office: The Decline of the Magazine Industry

FEATURE: 

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  The Paperless Music Office: The Decline of the Magazine Industry

________

IT is not merely music magazines, I guess, that are under threat in this current climate.

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one of the saddest pieces of music-related news was hearing how Rolling Stone magazine was up for sale. This is how the Variety reported it:

Until recently, Wenner Media was among the largest independent publishers still operating primarily in the print field, with titles Us Weekly and Men’s Journal rounding out its portfolio of magazines. In April, American Media Inc. (AMI), publisher of the National Enquirer, Star, and Men’s Fitness, among other titles, bought Us Weekly — for a reported $100 million, a fraction of the $300 million sale price for a 50% stake that Wenner paid to Disney in 2006 — and Men’s Journal in June (financial terms were not disclosed, but according to an insider, the deal nearly fell apart).

Currently, a diminished Rolling Stone staff occupies a small area on the second floor of 1290 Ave. of the Americas. It has been rumored that Gus Wenner had surveyed a variety of commercial spaces in Brooklyn to which he could potentially move operations. In a recent interview with Bloomberg Business Week, he lamented: “Long-term, I don’t want to be in the business of solely relying on ad revenue with the way things are changing so rapidly.” BBW cited a nearly 10% drop in newsstand sales while online traffic in the U.S. for RollingStone.com had declined by 28%".

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PHOTO CREDIT: Duane Prokop/Getty Images

Ultimate Classic Rock weighed in on the news:

"The New York Times reports that publisher Jann Wenner, who co-founded the magazine in 1967, has agreed to pursue a sale that will leave Rolling Stone out of his hands for the first time in its history — and although Wenner and his son Gus, who’s taken on a leadership role at Wenner Media in recent years, have both expressed a desire to stay on after they strike a deal, they’ve conceded the possibility that the new owners may opt to move on without their involvement.

Paraphrasing Bob Dylan, the elder Wenner told the Times that “if you’re not busy being born, then you’re busy dying,” conceding that as a 71-year-old at the helm of what was once a pointedly counterculture publication, he believes “it’s time for young people to run it.” Both Wenners also admitted that given the current state of the publishing industry, their company’s position isn’t where it needs to be in order to “grow the brand” the way they’d like.

The Times‘ report outlines the ways in which Rolling Stone‘s influence has waned and reputation suffered over the years, as well as touching on some Wenner business deals that have undermined the company’s publishing presence while eroding its ownership stake in RS. It isn’t hard to understand why Wenner might decide to seek out a new owner with “lots of money” to breathe new life into the magazine — but it’s also easy to see why the prospect of a sale is cause for sadness among those who remember its glory days.

“That sense of the magazine editor’s hands on the magazine — that’s what’s going to get lost here,” predicted veteran Rolling Stone critic and editor Anthony DeCurtis. “I don’t know who’s going to be able to step in and do that anymore".

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This does not mean the end for the beloved journalistic institution but does paint some worrying shadows. To me, like vinyl; music magazines are the physical format that we all grew up on. I remember buying editions of Q Magazine, MOJO and NME. Each publication has its own vibe and one can get a nice balance of the mainstream best and those working away underneath the hoopla. Maybe, like music itself, there is an inevitability music media will become digitised and be more computer-based. It was one of the joys of my early years: rushing to the newsagents and buying the latest edition of NME – sifting through the pages and looking at the reviews and cool features. That magazine is still around but has had to make it free. The fact Rolling Stone is being sold indicates financial burdens and some uncertainties. In fact; I do not know the fate of the U.S. publication – I assumed they would be fine and find new owners who can help jettison and secure the magazine. It is hard to say how its fortunes will play out but I hope there is an injection of finance and guidance that gets the magazine back on track. To be honest and open; Rolling Stone has never failed to provide striking covers and interesting content. Creative Industry Hub backed up the article (above) with their views surrounding NME give-it-to-them-for-free approach:

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IMAGE CREDIT: Unsplash

It’s been a sad few days for music fans from the previous generation and beyond, as NME announces that their circulation has decreased from 300,000 to 15,000. In order to keep the classic publication and legacy alive, they’re being forced to distribute it as a free magazine in hope of gaining a bigger distribution and making the deficit back through advertising instead.

This all sounds too familiar. NME is now using the Spotify model of, ‘give it away for free, and make the money back in advertisements.’ That consumer greed and the lack of willingness to pay for intellectual property, i.e. music is a sick thought, but sadly, this is the reality of music and media in our generation.

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PHOTO CREDIT: Anna Wenner

The world is changing as websites move over to digital territory. According to Yorkshire Post, ‘to generations of music fans, it signals the end of an era,’ and I agree. ‘Then, it was an essential part of the pop landscape, promoting the likes of The Beatles and the Rolling Stones and putting them in the line-ups of its annual Poll Winners Concert.’

Again, I agree. And other music magazines such as Kerrang! have struggled also, since the arrival of the digital revolution. But we’re all guilty of it. I used to be an avid, and almost religious buyer of the Kerrang! when I was a teenager, but with social media and the internet, there is no need for me to pay for information any more, and lots of music fans would agree”.

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PHOTO CREDIT: Unsplash

I know people have to move with the times and accept the way an industry evolves. It is easier now to get up-to-the-minute updates and a range of new items and articles. We use the Internet for our news – and do not buy newspapers…oh, wait, yes, we do. All of us can access breaking news when it happens so, acknowledged we buy newspapers, then why is our music press under such pressure? Newspapers can contain content their online pages do not and one might get puzzles, articles and conversation-pieces that are solely in the newspaper itself. I worry we are bastardising music and stripping it down to its electronics. The mechanicals and engine are rusting: physicality, soul and complexity have been replaced by something simple and easy. We can apply this theory to music and the way we buy it. C.D.s are still fairly popular but their appeal and sales figures have waned over the years. I buy C.D.s a lot and prefer to have something in my hand that I can actually feel. That may sound odd but many people have the same passion. This is why vinyl has come back into the fore: one can hold a record and get a sense of where it came from and the people who put it together – other than the artist themselves. I have the same reaction with music magazines and press. I want to go down to a newsagent and explore the collection of magazines and what is written on the cover. I get hooked by a great interview of big piece of news shouting from the skin.

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IN THIS PHOTO: Zane Lowe interviewing Chance the Rapper

There are complexities to the argument and we cannot overlook how expensive hiring journalists can be – and the cost of arranging interviews attending gigs. Those expenses are the same in an online forum but I suppose being able to produce so many new and ever-changing pages/articles a day means the reader gets greater regularity and consistency. You do not have to wait a week for something to come out in printed form – sometimes, some of the articles are outdated by the time they hit the shelves. Rolling Stone has, in past years, faced legalities and issues regarding interviews and some of their pieces. If they were to do that online – and not have it printed – it would be easy to retract and remove that offending piece. It is a lot harder when it is in printed form and can throw up a lot of new legalities and offences. I can see the downsides of music magazines and how they are not as relevant and progressive as they should be. That is not their fault: one can only do so much with the printed word. I can accept the limitations and the fact the modern world is becoming digital but we cannot cast away the traditions we put down. I mentioned how we buy physical music and newspapers: D.V.D.s. still exist and they have not been completely extinguished because of the Internet. While I can get on board with a balanced argument: there is another side to things...

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PHOTO CREDIT: iStock

Journalism is an industry always-growing and appealing. The more musicians that come through the greater the demand for pieces appearing on sites/magazines. We still have publications and newspapers with a large music section so I wonder why magazines such as Rolling Stone are facing threats. Music has become a paperless office and editors are keen to reduce overheads and streamline production. Upcoming journalists want to write for the large and popular magazines and follow in the footsteps of the greats. It is aspirational being a writer/contributor for a magazine: online sites seem less personable and more reductive. Too many writers are told to limit their word-count and produce something punchy and bite-sized. Magazines have time to wallow and bring the reader a more immersive and detailed experience. We cannot abandon great magazines and make everything music-related digital. It is soulless and, whilst it may be more updated and versatile – money plays too much of a part of things. Everything coming down to cost and affordability is what is strangling a lot of the promise and soul out of music. Rolling Stone needs to address its controversies and legal issues but, if you take them away, you have a trusted and fascinating source for music. In my mind; the best part of discovering new music and reading about the week’s event is giving that magazine in your hand. I love to pour over an article and sac each line. Maybe there is a different chemical process when reading from a screen but you cannot beat the feel and experience of reading a music magazine.

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Some argue there is tabloidisation and a lack of teeth in the British music press, for one. The current mainstream best is not as explosive as Punk and the huge movements we experienced before – there are not many artists with something important to say that could lead to a front-page-worthy headline. Even if that were true – there might be few who would argue against – there are plenty of marvellous and original artists in the underground that can kick-start magazines. If we turn more column-inch and time to the underground acts it will only put the spotlight on the next generation but guarantee there is always something worth buying – people will pick up magazines get more into the written word. Even with music; I think we should be encouraging people to spend less time in front of computers and more time reading. It is easy to list arguments why we cannot allow the likes of Rolling Stone to face peril and (possibly) close their doors. If that were to happen – or they would change drastically – we would lose one of the last big music magazines that can…

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 PHOTO CREDIT: Lu-Hai Liang

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