09/08/2010
Tate Modern
Photograph:Anthony J Hughes
April Snow
Photograph:Anthony J Hughes
Pollocks!
"Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within."
"The strangeness will wear off and I think we will discover the deeper meanings in modern art."
"It [abstract art] should be enjoyed just as music is enjoyed – after a while you may like it or you may not."
In response to the question "How do you know when you're finished?", Pollock replied "How do you know when you're finished making love?" Jackson Pollock
I know it's kitsch but check this out http://www.jacksonpollock.org/
Enjoy!
07/09/2010
The state of Bhangra Representation and regional development opportunities (Part Two)
The state of Bhangra
Representation and regional development opportunities (Part Two)
Context: - measured against western music practice and appreciation.
To focus on the ‘State’ of Bhangra it is necessary to provide a context measured against western music practice and appreciation.
4 Key Facts: The Nature and Shape of the industry
Live & Recorded industries
One of the primary considerations with using the word Bhangra is that it does not adequately describe the genre. The dictionary definition is no guide to the nuances and variations within what we may call Bhangra and that technological developments, as with any other form of modern music, has facilitated a personalization of the genre away from the need for critical or public consensus or acclaim.
In the book Bhangra: Birmingham and beyond, Dr Rajinder Dudrah makes the distinction between popularly acknowledged ‘traditional’ British Bhangra – referred to as ‘Old Skool’ and any subsequent stylistic developments of the genre. By virtue of the significant stylistic departure from the form any classification in generic terms is best summed up as British Asian Urban music. This document also refers to the traditional Bhangra in a western classification of course in it’s origins of ‘British Bhangra’.
The further distinction between Bhangra, Bungra or the dance is not the focus of these recommendations but is referenced to provide context.
In a simplified model we have at least two Bhangra’s and therefore two coexisting, converging but differing industries around them - A ‘Live’ industry and a ‘Recorded’ industry.
This of course is true of the mainstream music industries to a certain extent but in general terms the recreation of a recorded product is sought in a live performance. A genre such as Hip Hop or Jazz can be confidently referred to when discussing either a recording or a live performance.
With Bhangra, despite being such a new genre and industry, it has undergone something of a split between the more ‘traditional’ sound and function of the live band and the possibilities exploited in studio based production and writing.
This can also be viewed in a similar way to the divisive use of electric instruments in British folk music in the 1960’s where the purist approach of, predominantly Ewan McColl, led to a definite move to protect and maintain the traditional elements of folk in a curatorship role.
As a guide, the western mainstream model could be broken down as follows:
Live:
This is concerned with, though not exclusively, the following generic headings:
1 Artists development
2 Booking Agencies
3 Promoters
4 Venue (Including regional infrastructure)
5 Civic Infrastructure
6 Publicity, Media and Marketing
7 Royalty Collection (through PRS / Alliance)
8 Audience Development
Recorded:
1 Artist Development
2 Recording studio / Home PC based facilities (Including technology)
3 Mastering & Duplication
4 Press/PR & Marketing
5 Distribution
6 Retail
7 Royalty Collection
Looking closely at the variations in both industries, the first observation can be summed up by a phrase which Ninder Johal of Nachural Records20 used to great comic effect in a presentation at the Creative Networks21 at the TIC.
Ninder Johal – (Nachural Records):
“In the Bhangra industry the only time we saw a white person was the tax man, and that didn’t happen very often”!
Although a throw away remark, it sums up the ‘business’ of Bhangra very well. Historically it operated ‘under the radar’ and in an ‘informal’ way. It’s practices are very much concerned with profit in live fees and at the top not tail of the recorded product industry where an upfront payment precluded any further claims on royalties by the artists and the ‘shopkeepers’ profited by retail which included both official and non official format.
Looking at the food chain of the live music model it would appear to follow this pattern.
3.1 Artists development
There are many reasons why musicians gravitate towards performance or a career as a musician. Within the early days of the Asian population they carried with them social models that largely reflected the India they had left behind. Some would say that performers in this society were of little social standing and, where there was an elevated level, it would be through Film and in particular as a singer that the focus was directed.
With this ‘constraint’ in a large population like India came an opportunity in the newly settled community where musicians, singers bands were in short supply and great demand.
This is relevant because it appears to have shaped a great shift in attitude and the infancy of an essentially new industry – Bhangra.
Contrast this against the highly elevated status that western artists had been enjoying in the UK since the 50’s and this in turn highlighted cultural differences – something that a new and emerging population were keen to avoid and remedy.
These new bands and artists were also concerned with the younger generation and 2nd generation focusing on the western music at what they saw as the expense of their own culture.
Channi Singh22 (Alaap):
“I came here in 1976 and saw that the youngsters were not listening to Punjabi music - they were listening to African, Western, Black music and I thought that they would forget the culture”.
However, over the development of the Bhangra industry, the financially lucrative position of playing weddings, functions and more recently the dinner dance circuit conversely has an affect on the artistic development as the reliance on ‘entertainment’ leads inevitably to repetition.
For many, playing the same music week in week out - narrows the opportunity and does not develop any need to consider non Asian audiences, especially where the platforms offer little or no short term financial returns.
In many ways artistic development is of little importance as fees commanded for gigs reach £4000 per show. Little wonder that Bhangra remained largely invisible to any audience outside it’s own community for so long.
The change in this came about due in part to the success of those early bands. Status can easily be defined by booking the ‘best’ and most ‘celebrated’ bands for a wedding or show and it remains the case that a few at the top leave little room for new comers.
The fees commanded by these bands leads inevitably to concerns of value for money and this, coupled with new developments and the emergence of the DJ scene offered new opportunities in booking entertainment. The DJ celebrity of the late 80’s and 90’s offered a viable alternative where, for less money, they would play a variety of artist’s material with a light show and for longer!
The success of western artists both financially and aspirationally also found a younger Asian audience seeking to reach this market and developing music, which broke boundaries and reflected the other aspects of the multicultural society they found themselves in. Reggae, Rap, Hip Hop, Dance were all everyday realities and as ‘artists’ they wanted to express themselves through these sounds.
What we now see as ‘traditional’ bhangra was considered by many at the time to be irreverent and irrelevant as a music form whilst still being inherent as a cultural and community experience.
As outlined by contrast to other genres - In many ways Bhangra is something you ‘grow up with’ and it could be argued that it makes less sense to an audience outside this – or where the language isn’t understood.
What is apparent is that the early days of the industry produced figureheads who are still widely recognized and referenced with admiration and adulation. An increasing number of 3rd generation young Asian artists are now investigating this music and culture as a link to the ‘authenticity’ of the Punjabi culture and a link with their past. For them the lack of Asian music celebrity in mainstream cultural terms provides little opportunity for role model or artistic, creative or economical success.
This coincides with a decline in spoken Punjabi (or sung) which in turn leads to Bollywood producers, singers and performers seeing an opportunity to use Bhangra beats to a greater effect and sold back to the British Asian population – albeit a less inventive or innovative approach or in Hindi.
With little room at the top for live work, a market still operating largely outside of any I.P. or formal royalty representation there is equally little point starting a band in an era where it does not monetise in any way.
This has lead to an increase in young Asian artists seeking other cultural and artistic outlets in an attempt to find a voice and stand any chance of a career.
In effect, the industry heads that bemoan the demise of the ‘authentic’ sound and the generation turning to other cultures are instrumental in the lack of opportunities open to new artists within the business. This can be observed through the dedicated media coverage of Asian music that focuses heavily on Asian Urban Music.
Vips23 (VIP Records, Edinburgh):
“You have to create music with an Asian artist which is natural and do what he feels. Jay Sean for example doesn’t seek to be an Asian playing a genre – he just plays in that genre, just does what he does as an R&B singer and is good at it.”
3.2 Booking, Promoting & Playing
Booking Agencies
Promoters
Venue (Including regional infrastructure)
There are many aspects of the live circuit in any genre but starting with the booking agents and promoters can demonstrate the concerns that affect the current ‘state’ of bhangra.
In western/ mainstream music in the region, the proliferation of Indie and Rock provides quite a polarized view of ‘live’ and the gains made by the artists in career terms. The success in securing quite well paid fees for live performance in the Bhangra industry is significantly different than the experiences often cited by other bands writing and performing original material. The contrast is quite apparent as most bands playing indie /rock within the region over the last 10 years will be lucky to receive any money from the promoter or venue for a performance.
The problems surrounding a live music culture are many and largely revolve around the issues of a top down approach. In simple terms it follows this chain:
Brewery – Have an interest in profit and also control to a large extent the pricing of the stock to chain pubs; of which there are many in comparison to independents.
Publicans – In chain franchises are forced to buy from the brewery at often higher prices than independents. They are also subject to the regional reps preference which can shift as often as the reps themselves. It inevitably leads to little money for ‘entertainment’ and is usually a one off spend on large screen sports. Music venues are seldom more than a pub with a room upstairs and through this ‘relegation’ in status music is felt to be something tolerated rather than promoted.
Promoter – caught between the interests and aspirations of the musicians and the landlord, they seldom make a profit out of staging gigs and in any attempt to generate a viable income from their efforts move towards nightly line ups of around 3 bands. They rely heavily on the bands bringing an audience and due to the need to promote as many nights as they can inevitably lead to low quality which has the effect of loosing audience confidence and interest.
The Artists – Rarely get paid and are often expected to bring their own audience which means self promotion, at which most are very bad.
Finally comes the audience who despite the option to vote with their feet often have no other choice but the same formula repeated across nearly all the other ‘music venues’ in their area.
On the face of it the contrast would be the Bhangra bands who command fees in the thousands and play regularly (during the wedding season) and a combination of dinner dances and Mela’s.
The exception to this scenario is the choice of gig, venue and promotion opportunity. If we look at western bands who are successful at playing Weddings, Functions, University Fresher’s Nights or even cruise ships they are also paid relatively well by contrast to the aspiring original material bands playing a local gig, but are of course considered ‘Cabaret’. The same could also be said of social functions and festive events where the services of heritage based music and performance is required. Morris Dancers, Period Costume Performers, Early Music Ensembles, Covers and Tribute Bands, Brass Bands etc.
If we look closely at the social and community requirements of these two apparently different areas we see parallels in the same considerations for ‘entertainment’. At the heart of ‘traditional’ Bhangra is a heritage which dates back generations as would a punch and Judy show on a British seaside beach or a Barrel Organ fair ground activity.
The fundamental difference can only be seen in the writing and performing of original material and an aspiration to be recognized as an ‘Artist’.
Music for music sake evolves where ‘Traditions’ and ‘Heritage’ seek to remain the same.
Zab Khan24 (BBC Asian Network Radio):
“Many of the younger artist because of this, have moved away towards other genres in recognition of seeking a new avenue to make money.”
“The wedding circuit though, although enticing does not connect to audience in the same way or push artistic boundaries.”
3.3 Regional Impact & Context
Civic Infrastructure
In terms of inward investment, one of the major points of evaluation in the arts (creative industries) can be measured by economic growth or the potential of.
If you look at the major regeneration projects focused around the regions economic development in the last few years, the considerations of support or funding are often felt to be economic growth versus artistic worth. There is a clear distinction between the role of the Arts Council and AWM in the choice of project and therefore artist support.
The common theme is around audience development and as a region we are quite preoccupied with it.
The role of organisations like Audiences Central25 are seen as key in the strategies employed by both civic and independent commercial provision and projects as well as a wide ranging host of subscribers looking to develop a strategic approach to their business and event planning.
Nigel Singh (Audiences Central):
“Although not specific to Bhangra - we offer generic services – open to all research into audience development. Tying into national programs of work which could be about segmenting audiences.”
“We also do work on facilitation and brokering with partners to develop audiences.”
The role of large scale public events like Artsfest26 are key to providing public access to a wide range of arts including music. They offer a platform for both aspiring and established regional music and dance performers and regularly support a program which includes elements of Bhangra performance. This year will see staple line up The Dhol Blasters and a new initiative featuring a world record for the most Dhol Players (Dhol Fest)27 in one performance – orchestrated by Bindi Sandhu (Channel Punjab)28
Elise Duncan (Artsfest)
“Artsfest is an arts showcase festival. It is also an audience development initiative –within the west midlands. Artists use the platform to showcase and to sign post to other activities and forthcoming shows.”
“It is free to artists and to the citizens of the west midlands. It covers a wide range of events from visual arts to performance, dance and music.”
“It also acts as an audience development for venues and to encourage public use of new venues quit often staging events and exhibitions juxtapose by unusual settings.”
The opportunities offered to aspiring musicians and performers through public performance is good. Many artists find that reaching an audience in this way is valuable both in terms of confidence and profile but also in attracting non gig-goers.
The festival, as valuable as it is for the region, is not without criticism and the issue of any non payment of performers does not sit well with official artist representational bodies such as Musicians Union.
It may also suffer from a less balanced or rounded representation of Bhangra because of this.
There have also been attempts to involve Bhangra in a more formal way through Bhangra Fest29, which was staged during the 2006 Arts Fest.
For various reasons the event changed considerably from it’s original remit and plan and it was felt by those responsible for staging that the event suffered considerably from a lack of support from it’s funders’ and civic authorities.
As a bespoke Bhangra event in the region, it is a shame that the early teething problems could not be resolved and the consensus would point to the need for a stand alone Bhangra or Asian music festival.
Bal Kumar (Realtone Records):
“Bhanhgra Fest had 2 – 3 thousand attendees despite the last minute changes. The original venue Broad Street would have been better. If we had not had the venue location changed we would have reached a wider audience and an audience of non Asians.”
… “It’s important for the music and culture to cross over to other audiences.”
However, the contracting of such events often lead to a lack of cohesion amongst the industry players and the most transparent methods of inclusion would lead to a representation of all artists from interested parties, which would in turn, be cost prohibitive.
Bhangra performers often over - look the potential of these types of festivals and showcases in favour of short term gain and guarantees. Many other civic or public events due to budgetary constraints are not in a position to meet the fees of Bhangra artists and feel they must weigh up booking any at all because of this.
Paul Keene (Town Hall / Symphony Hall):
“We have not programmed any Bhangra to date, but there is an interest in achieving this. There are issues with supply though other genres often approach us with enquiries for staging events but not so much with Bhangra there is a lack of initial approach.”
Clare Edwards (Gigbeth30):
“Not just focused on bhangra although I have staged bhangra gigs as part of Gigbeth. This included Achanak at the last Gigbeth and DCS the year before.”
This is funded through a mixture of private and public money and although focusing only on music performance, by contrast, does seek to pay all performers; this in itself though provides some concerns;
“We evaluate - our remit involves promoting a range of local genres a widely as pos –including Bhangra. Often it’s a balance between what will appeal and what is good – what will attract a good crowd artistic judgment and what crowd they will bring.”
“The biggest barrier is the cost of staging bhangra – they are often too expensive which is prohibitive – especially if another band of equal caliber could bring twice as many for the same price.”
Elise Duncan (Artsfest):
“The team usually have a preference for new and upcoming artists and because of levels of funding we are not able to pay certain expected rates so this may be prohibitive but the artsfest information is open and available.”
Kevin Da Costa (Arts Council West Midlands31):
“…Had Ninder and Bal not made themselves known, I would not be any more informed as to the bhangra industry.”
“Bhangra as a live music event isn’t necessarily in the common music circles that wider participation of audiences are used to – it wouldn’t be at the bar fly glee club etc.”
“A body who works strategically providing info and access to the sector as a conduit to venues labels, has a lobbying aspect to in part represent the sector to other agencies, to work within the wider sector to the industry sector events trade fairs festivals – a role slightly different to a straight forward agency. They would need to be impartial and inclusive. They would have to strategically sit at the regional stakeholder meetings and networks and have a person who understands this remit, focus and language.”
One national organization with a specific interest in the up-skilling of the industry would be Musicians Union32. In terms of regional representation they offer a wealth of resources and representation which only a handful of the Bhangra industry seem to have taken advantage of. Andy Derrick the regional coordinator feels that a more unified regional perspective would also provide a more informed two way dialogue where the work of the RDA’s could be accessed more widely.
Andy Derrick (Musicians Union):
“With a view to the region and any other public sector and development agencies, there needs to be better awareness of the make up needs and motivations of music makers in all sectors. Having clearly signposted information body or access points to the network would greatly benefit that. The end result being more trust in publicly funded organisations.”
The development of initiatives meeting the Cultural Olympiad 2012 events within the region are headed by Paul Kaynes. The representation to any executive committee in Government and a theme for the pubic profile events around 2012 should naturally reflect the regions multi-cultural profile. He is anxious to be better informed and therefore representational in this, though from past experience he finds it difficult to engage with either the industry or community despite opportunities through his previous role in Audiences Central.
Paul Kaynes (Culture West Midlands33 / Cultural Olympiad 201234):
“With the development of our Cultural Olympia we have a major launch planned – and we are informing the programming of this and advising on some of the music content, so there will be occasions where we do directly program and promote music events yes.”
“My personal role through the work of Audiences Central, it was difficult to engage and make contacts. There were a number of occasions such as the feasibility research into the music festival that you and I discussed with me. We drew on a wide range of contacts within the sector but despite attempts to make contact within the Bhangra industry we had no one come forward.”
Conclusions drawn from these organizations who are distinctly separate but engage in a regional cultural remit, indicate that there is little or no representation coming from the industry. This leaves regional stakeholders in quite a difficult position; How do you make valid judgment or become aware of any possible failings in your representational remit when no one conveys this or responds to invitations to engage in the process?
On the face of it, you could fund the services of someone who knows the territory and the language of the RDA’s and this document goes some way to informing the process, but does not specifically have a remit to develop further strategy for the stakeholders themselves.
Val Birchall (Birmingham City Council – Arts Team35):
“Recently new guidance shows that those we fund must demonstrate further how they meet diversity in the projects they deliver.”
“It is the case that the majority of funding goes into white western classical music and audiences – so there is a need to look at this and issues of how we tackle it. We are developing strategies.”
The absence of formal economic data from within the ‘informal’ economy of the industry makes any argument for support very difficult. Essentially the industry would have to demonstrate trend in sales, employability or other revenue systems to demonstrate need to organizations like AWM. It is not a poor industry and demonstrates the same model of any other creative industry which is retail and customer focused. Equally it suffers from the same downtrend in sales and piracy issues as western music companies.
Parminder Singh Jutla (In his research for BIB) states:
“It may not have a definite infrastructure or meet the mainstream standards, but
for an unregulated and virtually invisible industry to the UK investors and music
industry, the UK Bhangra industry has created a worldwide appeal and an
international export market. The industry has been an underground industry
since inception. Many of its sales were not recorded and were not through
recognized through mainstream outlets… It has been estimated that many of the songs produced and sold could have entered on the mainstream charts based on unit sales. The industry is still invisible and remains underground, but is slowly moving into the mainstream, through its ability to influence other music forms. Bhangra has no age limit be it the audience or those employed by it is like any other creative/music industry it is run by those who are passionate or interested by it”.
In a live public arena, for new audiences at least, it has yet to offer any concrete proof of engagement with the exception of a small but significant aspect of the more traditional Bhangra such as dhol groups which do feature heavily in scheduling and should be built upon and in groups who have developed the genre and the audience base at festivals and international shows – in effect allowing the ‘world music’ tag to be used.
The usual suspects?
The repeat funding of organizations and individuals often does not represent anything in the way of nepotism as much as limited address books. The region ‘suffers’ from this slightly one dimensional support of what it knows as ‘Bhangra’ because there are limited organizations and individuals who make themselves known and who understand the requirements of the funding streams and provision. It therefore follows that commissioning and programming relies on inclusion of those few that have and do engage and are visible.
This is not understood by the industry or a non Asian public perception of what they are ‘told’ is Bhangra. For many the artists and performances are very enjoyable – unfortunately it does little to challenge a one dimensional non Asian audience view of what the genre is and what the range and breadth of it’s subtleties are. Programming could fair better if it included artists who have taken ‘traditional’ Bhangra or ‘Old Skool’ and developed the music in other areas under the British Asian Urban banner. We have a significant number of new and emerging Asian artists active in the region who do not perform essentially traditional folk music.
One failing of the industry and the community is that they are not proactive in the regions artistic and cultural development or the processes and funding mechanisms.
It is for the industry themselves, or if they choose, any agency seeking to represent the industry to involved themselves in regional dialogue and inform the process – rather than a retrospective view of it’s failings.
Skinder Hundal (SAMPAD)
“Bhangra in Birmingham are seen as the flagship organization which will provide new acts with the tools to engage with the industry. It should also seek to engage with the regions networks and support, working with promoters and festivals and developing a meaningful dialogue.”
Bal Kumar (Realtone Records):
“There needs to be a passion to drive it forward. The key people need to be utilized.
Funding , Stakeholders, BPI, MCPS, Promoters etc. A series of seminars would bringing everyone together under one roof. Record companies and artists need to be brought together with PRS MCPS BPI. These organisations have all volunteered support and some financial support already in our talks with them.”
“A lot of the ground work has already been done. The conversations have already taken place. BiB have already talked to them.”
Vijay (Achanak):
“There have been bodies and committees but they haven’t worked in the past, they have argued and disagreed”.
“With the Bhangra book [punch records] any one who he didn’t include publicly denounced the book and there is a lot of bad feeling and mistrust within the industry. It’s a small and unregulated industry and they can’t agree.”
4 Media
Publicity, Media and Marketing
This report focuses on three aspects of the regions media Radio, Television and Print/Magazine.
Statistics on the regions media offer little to support any models, trends or developmental needs in Asian, Bhangra or even Punjabi focused media. The information was largely gleaned from internet search and anecdotal recommendation. In effect the regions Asian media does little to promote itself outside of the community it represents.
4.1 Radio
National context – size, shape of the market and representation for non western music genres.
‘An estimated 22,800 people are employed in the UK radio sector, the majority of whom work in broadcast radio, with around 400 working as independent producers.
Around 20% of the total workforce is freelance. The BBC national, local and digital stations dominate UK radio, in terms of audience share and industry employment. Large commercial operators such as Gcap, Emap and Chrysalis are responsible for most of the rest of the UK’s radio output, nationally and regionally. A third tier of radio activities includes community radio, which operates on a local level, generally on a not-for-profit basis.’36
This and other statistical based evaluations of the national media trends points to the healthy status of media platforms in terms of audience citinga recorded record high of 45 million in the final quarter of 2006 (reaching 90% of the population).
If we look at new and emerging trends in listening habits this can been focused on digital platforms - 16% of UK households had DAB digital radio37 by the start of 2006 (a 44% increase since 2005) though this is still drawn from a terrestrial radio broadcast and given the cost of license and technology involved in DAB broadcast less likely to represent any great significance in the regions non commercial radio sector or online providers where estimates account for a figure much larger under existing but limited technology and quality control. These would include cable and other forms of radio.
There are significant opportunities for the regions digital platforms though, as an anticipated 90% of all radio listening will be via digital platforms by 2017.
Internet only stations are felt to be reducing the barriers to entry for both niche and podcast listeners. This will see a wider listening of non English spoken and non western genre based playlist as people personalize their listening habits. This does not however take into account any realistic financial constraints or a strategy for advertising revenue from any unsubstantiated forms of listening figures as the market becomes increasingly saturated.
The overall assessment of the regions radio support of Bhangra through play lists is not favourable. By contrast, at least through the experiences of one of the most successful Bhangra bands of all time – Alaap, the Radio representation in Southall is very supportive.
Channi Singh (Alaap):
“It [Bhangra]is well supported – Now they are coming to their senses! Each station has now a couple of hours where they play Bhanhgra and Punjabi music”. Sunrise have started playing bhangra. Clubasia has been playing Bhangra as well”.
24 http://www.bbc.co.uk/asiannetwork/ (Since closed down by BBC)
34 http://www.london2012.com/blog/2008/09/30/the-cultural-olympiad-comes-alive-in-the-west-midlands.php
35http://www.birmingham.gov.uk/GenerateContent?CONTENT_ITEM_ID=18557&CONTENT_ITEM_TYPE=0&MENU_ID=12939
36 Burns Owen Partnership report on creative industries for AWM 2007/8
06/25/2010
The State oF Bhangra
Quite an academic piece really, but for anyone really interested in Bhangra in the UK this may be a valuable bit of work I put together. The overall piece of work was very lengthy so I've pruned it down. Here's part one...
The state of Bhangra
Representation and regional development opportunities (Part One)
Introduction
Overview - Historical and explanatory
A person needing a definition of Bhangra may start with a cursory web search which will lead to the obligatory Wikipedia entry. It tells us the following: -
"Bhangra (Punjabi) is a lively form of music and dance that originated in the Punjab region.
Originating in the Punjab region, Bhangra began as a folk dance conducted by farmers for expression of celebration. Bhangra commemorated the coming of the Spring and marked the birth of the new Bhang harvest, a time known as Vaisakhi celebrated by Punjabis. Bhangra ushered in a new beginning, a rebirth of the Earth, a means for farmers and the common people of Northern India to salute the new season. Today, Bhangra survives in different forms and styles all over the globe. In fact, Bhangra has been hailed by many as the world's fastest growing dance and musical form. Today, bhangra is celebrated everywhere by people of all ages and races - from the radio, to pop music, and even to collegiate competitions. As Bhangra becomes more well-known, some of its practitioners try to maintain its traditionalism while at the same time embracing its evolution as an art form."
This is perhaps a fair definition and assessment of the origins of the genre and certainly in some ways a 'legacy' which is still impacting predominantly on new generations of British Asian artists, Bollywood and with wider influences found in many areas of 'world music'.
With the early successes of British Bhangra and the development of a recorded industry from the early 80's with bands like Alaap and Heera followed much later by a brief but significant flirtation with mainstream successes of tracks like 'Mundian To Bach Ke' crossing over to western play lists and audiences worldwide. Thanks also to British television's brief but intense 'cosmetic' flirtation with all things Bollywood, the word Bhangra is far wider in popular parlance than ever before across the non Asian population.
Although it was quite a few years ago, with the Punjabi MC track and the proliferation of Bhangra beats into many other genres and advertising campaigns there is a sense that the genre and industry has indeed become well represented within the UK mainstream music industry and public consciousness.
But how much of this idea that Bhangra has become a well supported and showcased music by the regions funding agencies and civic authorities is accurate?
Most public cultural and arts based publication from these sources carry either a reference to or a picture relating to Bhangra. Many public and policies /equal opportunities strategic document pay reference to this genre as an all encompassing term for Asian music and the public perception would naturally follow that this genre is both well represented and funded.
How much of this is mere lip service to a genre, dance and performance and why is it important to look a little further in depth at it's current 'state' and future development needs?
What this document provides is a 'State of Bhangra' in the region with particular reference to the idea that an 'official' body could seek to represent Bhangra industry and engage with the regions stakeholders. The 'abstract' is by way of an introduction to bhangra, it's history and the industry supported by wide ranging consultation with many of the key players regionally, nationally and internationally.
It covers live and recorded music, innovation in the music industry, marketing, branding and new distribution channels which have arisen as a result of technological developments and draws comparisons and context from an international perspective.
Throughout the study, the assumption of any prior knowledge of music industry is by way of a parallel to western music, mainstream industry practice and public perception.
This aims to provide the reader with a context and some degree of balanced explanation of 'how the industry works' in order to then make basic assumptions on comparisons to that industry.
It is not intended that western mainstream is benchmarked and therefore any aspects of Bhangra that differ are shortcomings. In the words of Channi Singh (Alaap):
"I think what they have learned is that initially everyone wanted Rap etc to break Bhangra into the mainstream - it doesn't happen and I don't think it needs to - Bhangra is what it is".
With this in mind the approach of this study is to inform any one outside of the Bhangra industry and provide a more informed and balanced view of it's rich cultural heritage but also it's problems and the consensus of a need to reach a wider audience and develop.
There are three main aims of this document:
- To provide context for regional development agencies, stakeholders and other funding providers when considering audience development, seeking to enhance their scheduling, performance and published media when referencing Bhangra and Bhangra performance.
- It represents a strategic document for Bhangra In Birmingham (BiB) in seeking to define a remit for a central contact for Bhangra to the regional stakeholders and the industry itself. It will address Bhangra in Birmingham's exploratory stage in considering the role, responsibilities and possible conflicts in seeking to form a legislative body or portal for the region both in terms of inward investment and investigation and for an international promotion and representation at world music expo's and industry markets.
- For a guide to establishing a legislative representation for the industry itself in moving toward mainstream support, guidance and funding opportunities and a regional perspective in terms of cultural representation and the expectations and responsibilities that come with informing the process.
What it does not seek to do is to provide either a directory reference of the industry as would appear in the mainstream music publications like 'the unsigned guide' or 'music week directory'. Nor does it seek to resolve economic, business or retail solutions for the companies generating physical or digital product - that, as with the trend away from 'buying' any music would not be achievable.
It looks at the similarities and differences between western and bhangra industry practice and problems arising from an industry which often does not follow western mainstream methods, representation or intellectual property issues.
The report tries not to make the assumption that the Bhangra industry in totality has an aim to reach mainstream music audiences - nor that everyone who is Asian is concerned with Bhangra.
However, from the aspirations of BiB and the analysis called for in the tender document there is specific reference to methods to achieve this.
Research Methodology:
The research draws on Primary research based on interviews, anecdotal evidence, the presence of Bhangra in mainstream arts and economic development planning documents and key delivery strategies supported by secondary research drawn from publications, journals, newspapers, magazine articles, online resources, Bhangra websites, regional media and program scheduling, television broadcast representation and my own knowledge of the music industry and regional development and funding provision.
The research has led to quite specific views on the characteristics of Bhangra and the community in which it operates and, although the aim of this work is to provide a 'snapshot' of Bhangra, I may 'interpret' the research in order to add context or provide a counter point to largely accepted western mainstream music practice. At all times I have arrived at these through a considered and methodical approach.
Context and Heritage:
UK Bhangra, since the 1970's has been seen as both an identifiable and socially unifying genre primarily for those whose origins are from the Punjab region of the Indian subcontinent.
Birmingham and the Black Country developed early as a centre and burgeoning community of the 1stgeneration Indian immigrants who, out of the whole of the UK, settled here for specific reasons. The main one being language. For many, English was not the first language and this limited the employment opportunities available. The lure of industrial and manual labour employment where English was less of a consideration made it easier to gain employment and therefore an income. This was enhanced by a secondary factor, that the population were raised on a 'survival' ethos which breeds hard work and long hours, for them the opportunity to have regular work was attractive and they worked hard to build a family base. This quickly developed into families, then communities.
Harjit Singh (Azaad Dhol Group):
"Bhangra was invented here in the 80's by the media it is essentially a dance. It has become many aspects of the music but basically it is 'lok Geet' (the peoples music)".
These communities needed to maintain their cultural identities and the social scene inherently lead to forms of traditional entertainment
Gurcharan Mall who founded the Dhol Blasters, was performing prior to his family leaving the Punjab and describes the early days;
Gurcharan Mall - (Dhol Blasters)
"The reason is the first people who came to the Uk were uneducated. They wanted better things for their children but if you can't speak the language what do you do? So they headed for Birmingham and Black Country where the work didn't require spoken English - it was laboring".
As the younger members of the family grew and eventually the 2nd generation reached an age where they were marrying this presented further opportunity for the development of an 'entertainment' base. This use of the term 'entertainment' is deliberately as what was to become a sound, genre and industry is very much founded on a work ethic as described. The western notion of musicians as 'artistes' was not and in many ways is still not measured in the same way by the Asian audience in reference to performers/ entertainers. It is a commodity, a service provided without the artistic or intellectualisation that the west attributes. In many ways when you pay for entertainment, there was little difference from any other 'trade' such a builder and the 'value for money' was inherited from the origins of performers and dancers being less highly regarded in social circles in the Punjab.
Gurcharan Mall:
"In those days though, musicians were thought of low cast and were not valued. As musicians you used to have to be in the background and the singer was the star. This shaped the way the bhangra industry worked and the Asian music industry".
Palminder Dhami (Heera):
"It Came from folk routes but when Indians came to the UK it was not that popular by the 70's & 80's, 30 - 40 years ago. I wanted to get the younger generation interested in their culture again."
Regional Population:
The Midlands region from recent statistical socio economic data shows that as a whole have a 12% population from ethnic non deciduous backgrounds. 30% being the figure for Birmingham alone. And of these specifically of Indian origin nearly 10% up to the age of 30. There exists a wide ranging and increasingly younger Asian population than ever before.
Asian / Asian British in Birmingham accounts for nearly 20% of the population - the largest of any of the non indigenous population.
Bhangra as a genre, music business, performance and cultural aspect of the community it was born of is inherently contradictory. It's origins as with most of history reads differently depending on whom you ask. For many it's roots are from the Midlands, for some the early pioneers of Southall but whichever is chronologically correct one thing is true - that the Midlands has produced at least two iconic genres and sounds that will forever be associated with this largely industrial heritage; Heavy Metal and Bhangra.
"Coming from Birmingham the contacts were all here - it is a good place to start. As I said my father performed in a band and the contacts we all accessible."
"I listened to a lot of my fathers music and used to sit in rehearsals with his band so for me it was like normal to be around it. The people who I would be aware of were DCS, Malkit Singh and generally the Midlands scene".
For many of the pioneers the break from the traditional style of Punjabi folk music came when Alaap began to mix this with the disco beats heard in the mainstream charts, clubs and media at the time. The effect was to ignite an interest in how the music could move forward from the folk music and the performing opportunities of wedding and function based 'social' music of the first generation migrant population towards a more integrated sound that the new generation could call their own and affiliate with musicians of other genre's and other social / society circles.
Shin - (DCS):
"I was from a generation who had grown up listening to The Beatles as well as the traditional Punjabi music. When I first heard Alaap it was amazing, I heard a really 'dancy' bass line and suddenly here was something that was about dancing to a disco beat. It was not just the music of weddings anymore".
It ignited his passion in creating a new sound himself and whilst entering a Mohammed Rafi competition he met the other members of what was to become DCS. They took the mantle that had been created by Alaap and also began to incorporate synths, electric guitars and a break from the traditional dhol music.
A key piece of work charting the look and feel of the emergence of Bhangra would be 'Bhangra: Birmingham and Beyond' By Dr Rajinder Dudrah a Senior Lecturer in Film and Media Studies at the University of Manchester.
This work was produced with Punch records Ammo Talwar and photographer/ writer Boy Chana who produced the Soho Road to the Punjab photography exhibition and website and although there has been some from the industry who quite publicly criticized the book for various reasons and it's reliance on the excellent imagery at the expense of what they see as historical fact, it remains one of the only publicly accessible stories of Bhangra and for the 'uninitiated' is informative and enjoyable.
The book makes specific reference to a link between Bhangra and other 'displaced' music movements such as Jazz and Northern Soul when referencing impact of a social and creative reaction to Thatcher's Britain. However, from the start of this analysis it can be felt that despite the similarities in collective popular consciousness when defining such movements as the Wigan Casino - Northern Soul gigs or Jazz scenes both of which predate the Bhangra scene, there is felt to be one major difference with Bhangra; to a large extent Bhangra is something you grow up with.
Other genres can be arrived at out of the social context and community from which they were created. They are more accessible in an abstract way as genres and can be enjoyed largely by a population who are remote from the origins and meaning of the music and lyrics.
Bhangra, by contrast, appears to be so ingrained in the psyche of the Punjabi Indian heritage as to make its crossover to a popular culture in western terms very difficult. That is not to say that there are not certain levels under which a non Asian audience can appreciate it and these 'superficial' stylistic references define the West's understanding of what Bhangra is. The Dhol and the Tumbi etc. These elements translate well into other genres and are used to great effect in anything from Reggae to Rap - instantly recognizable.
To focus on the 'State' of Bhangra it is necessary to provide a context measured against western music practice and appreciation.
http://en.wikipedia.org/wiki/Bhangra#cite_note-9
2 http://www.youtube.com/watch?v=6CJjAuKDnQM
3 http://www.bhangrainbirmingham.co.uk
4 http://www.theunsignedguide.com
5 http://www.musicweek.com/mp_index.asp
6 What is now accepted as the music genre 'Bhangra' as apposed to the origins of the dance.
7 http://punjabgovt.nic.in/WELCOME.html
9 http://palvinderdhami.30feb.com/
10 http://medweb4.bham.ac.uk/websites/key_health_data/2003/chapters/ch02.htm
11 http://www.gos.gov.uk/national/
12 Source: Census 2001, [Key Statistics for Local Authorities]Crown Copyright 2003. Crown copyright material is reproduced with the permission of the controller of HMSO
14 http://en.wikipedia.org/wiki/mohammed_rafi
16 http://en.wikipedia.org/wiki/channi_singh
17 Paperback: 84 pages. Publisher: Punch Records (Nov 2007). Language English
(ISBN 10: 0709302568. ISBN-13: 978-0709302568)
19 www.sohoroadtothepunjab.org
06/07/2010
Heavy Metal - The origins and myths explained...
Heavy Metal - Often confused with Heavy Rock!
A little over two years ago someone mentioned a project aimed at celebrating the fact that the Midlands was the birth place of Heavy Metal. In principle a good idea except for the reference to "metal bands like Black Sabbath and Zeppelin" which infuriated me....a little, being a bit of an 'expertanorak' on the subject of 60's/70's musicology...
I grew up in the Midlands and was surrounded by rock music from an early age. I was immersed in the culture of rock music, forced (at an early age) to listen to Deep Purple in Rock at what I now know to be dangerous volumes capable of structural damage and dragged to gigs by an older brother until myself starting to play in and promote bands.
With this in mind after 40 odd years reading, listening and 'studying' music via sleeve notes (You remember those don't you), acquiring back copies of rock journals dating back to the mid sixties (Which I bitterly regret giving away) and being a general anorak, I felt qualified to not just have a considered opinion but to challenge and try to inform them of the very important distinction between heavy rock and heavy metal as well as offer some insight into the origins.
I blogged about it and here again is some guidance on the subject...as far as my research goes.
The origin of the term heavy metal in reference to music are often argued. In terms of popular culture as far back as 1962 the term was penned by William S. Burroughs in his 1962 novel The Soft Machine; itself later to be taken as the name for a band. Burroughs writes of the character "Uranian Willy, the Heavy Metal Kid". Building on this term his next novel in 1964 Nova Express, develops this theme further, heavy metal being a metaphor for addictive drugs (later to also be very popular with rock bands) Another aspect of these novels is the use of recorded sound to free oneself from a programmed life and the alienation caused by an increasingly mechanical world.
"With their diseases and orgasm drugs and their sexless parasite life forms - Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes - And the Insect People of Minraud with metal music" - new bands take note and read Burroughs!
Although unlikely that Burroughs had any intent to relate the term to rock music, however Burroughs' writing may have influenced later usage of the term.
The first use of the term "heavy metal" in a song lyric appears to be the words "heavy metal thunder" in the 1968 Steppenwolf song "Born to be Wild"...
"I like smoke and lightning
Heavy metal thunder
Racin' with the wind
And the feelin' that I'm under"
...though this still refers to the properties of a piece of machinery rather than in reference to music.
Derivatives of the 'Heavy' terms are evident in relation to beatnik/ counterculture slang when describing something 'serious or profound also in relation to 'Heavy Music' though not as we have come to understand the term in relation to the actual sound and later genre.
As blues music was adopted and played by 'beat groups' of the early 60's the amplification technology that helped developed louder sounds associated particularly with British bands such as The Who, The Kinks and The Pretty Things led to a 'Heavier (Louder) approach to blues. This became Blues Rock - typically slower, more amplified variations of standard popular music developed alongside this.
Two other pieces of the puzzle developed in 1968. Iron Butterfly's debut album was entitled 'Heavy' and Jimmy Page was left to fulfill a Yardbirds tour of Scandinavia with a disbanded line up. He set about calling on his contemporaries to perform as The New Yardbirds (Terry Reid, first Choice for vocals suggesting unknown Midland's Singer in Band of Joy, Robert Plant who in turn brought in fellow Midlander John Bonham) after completing the tour dates, they adopted the name suggested by Keith Moon and John Entwistle (The Who) in the phrase 'You'll go down like a lead balloon" and Led Zeppelin was launched (Or rather Lead Zeppelin (Later amended to Led at risk of being pronounced 'leed'.
In 1969 also in Birmingham, a band called Earth changed their name to Black Sabbath after performing as a 'Heavy' Blues Rock band. The prevalence of bands performing 'Heavy' music around the Midlands, still a centre of industry at the time has led many to suggest the term is largely associated with the culture and industry that formed a backdrop to the birth of these bands. Certainly biographies of The Move have claimed that the sound came from their 'heavy' guitar riffs that were popular amongst the 'metal midlands'.
Others have also laid claim to inventing the term in relation to bands and genre, Sandy Pearlman, original producer, manager and songwriter for the Blue Öyster Cult, claims to have been the first person to apply the term "heavy Metal" to rock music in 1970.
Regardless of anecdotal evidence, the earliest documented use of the term "heavy metal" appeared in May 1971 in an issue of Creem. In a review of the Sir Lord Baltimore album Kingdom Come, critic Mike Saunders used the term "heavy metal" for a musical form for the first time in print (Kingdom Come is the first studio album by American'heavy metal' band Sir Lord Baltimore, released on Mercury Records in 1970) and certainly fellow Creem critics Lester Bangs and Dave Marsh followed Saunders in using the term in reference to bands such as Black Sabbath, Vanilla Fudge, and Led Zeppelin. The album was recorded at Vantone Studios in West Orange, New Jersey, before being mixed by Eddie Kramer and Kim King at Electric Lady StudiosinNew York, New York. Kramer is well-known for his work with such artists and bands as Jimi Hendrix, The Beatles, The Rolling Stones, KISS, Led Zeppelin and many others.
Bands who performed 'heavy' music such as Iron Butterfly, Vanilla Fudge, Jimi Hendrix would have an enormous influence on heavy metal. In fact, as pointed out above, Iron Butterfly in turn may have influenced Saunder's choice of the term "heavy metal" for the new music sounds.
Genre wise then, if the origins of the genre are in 'Heavy' or extremely amplified music then there are any number of contenders for the origins of the sound itself Kinks, Pretty Things, The Who as far back as 1964, Blue Cheer' version of Summertime Blues and particularly the Beatles Helter Skelter could be considered more of a prototype than Born To Be Wild which appears tame by comparison - also from 1968!
However, Andy Fraser (John Mayall's Bluesbreakers/ Free) cites producer Guy Stevens in the early days of what was to become FREE as using the term to encapsulate both band and sound with the term Heavy Metal and is certainly, from my research, the earliest use of the term Heavy + Metal in reference to a both band and genre of music.
AF: "Guy Stevens was a complete nutter - functioned on 150 octane all the time, was probably on speed, which I hadn't given a thought to at the time, but a really very nice guy, and very supportive of the band. I believe it was Guy who first suggested that we be called "The Heavy Metal Kids", which we totally resisted. It got to the point where Chris Blackwell (head of Island Records, Free's label) said, that if we weren't going to be called 'The Heavy Metal Kids", Island weren't interested. So I said "OK" and slammed down the phone. He called right back and said "OK, you win", and I've always had a great relationship with him ever since - to this day in fact".
This would therefore be prior to Spring 1968 and their November release of their debut album 'Tons of Sobs' (Also a title coined by Stevens a veritable poor man's George Martin at the time)
Even prior to this, however, may have been the missing piece of the jigsaw that led Guy Stevens to have suggested the title in the first place.
Guy was producer of an album by 'Hapshash & The Coloured Coat' who were protagonists of London's psychedelic boom of 1967. Founded by art students Michael English and Nigel Weymouth they became famous at the peak of the British psychedelic movement for their colorful and surreal posters. The album was released with the title'Hapshash and the Coloured Coat Featuring the Human Host and the Heavy Metal Kids' (Minit, 1967) and was a chaotic assembly of free-form jamming and percussions (the side-long instrumentalEmpires Of The Sun, A Mind Blown Is A Mind Shown The album featured the entire line-up of the Art (Mike Harrison, Greg Ridley, Mike Kellie, Luther Grosvenor) but the main contributions came from the producer, Guy Stevens.
Essentially then we have a term derived of two words Heavy and Metal. We have a genre classification that has become synonymous with that sound and we have the use of the term to describe essentially a form of heavy rock music.
So before you start making air-horned devil signs and being concerned with studded belts and high street fashion reissues of AC-DC tour t-shirts, thinking that Wolfmother are original or being worried that your 45% hair cut hasn't got enough gel, consider this.
The 'Metal' sound referenced today certainly has it's sound derived from Heavy Rock music and owes it's birth to bands who took the heavy music of the late 60's into the seventies stadium fillers and later to the spandex and leather wearing extremes of Judas Priest and Iron Maiden. So in that sense, 'Metal' is a product of The Midlands sound. Is heavy metal the same thing as heavy rock. No it is a retrospective genre classification associated largely with the critical description of Heavy Rock music.
The Midlands, whichever way you look at it, has been pretty central to most of the developments that led ultimately to a world-wide phenomena that is METAL.
Rock On!
06/04/2010
05/21/2010
05/14/2010
05/26/2009
04/15/2009
My Personal Heroes (Part One)
John Carter
My hometown hero John was born John Sheakspeare in Birmingham 1942. He teamed up with fellow Brummie Ken Lewis (Hawker)(they loved their writing pseudonyms in those days!) in the 50’s forming a skiffle band and they started writing songs inspired by the likes of Buddy Holly.
With a move to London a brief stint as Carter-Lewis And The Southerners which although uncharted, demonstrated their excellent songwriting skills, having a initial success with Mike Stearn’s ‘Will I What’ featuring 60’s blue eyed soul girl Billie Davis.
The combination of strong close harmonies honed through their experience as singers and amazingly commercial writing of pop songs soon got them noticed and they began writing. Despite having Jimmy Page as their guitarist for a short time, the success never happened in mainstream. In 1964 they met Perry Ford (Bryan Pugh) who worked as a sound engineer in a studio in Denmark Street. This added a third harmony and they started writing and recording demo’s which resulted in a single for PYE Records “What more do you want’ under the name of the newly formed Ivy League.
Their break came when Herman’s Hermits recorded ‘Can’t You Hear My Heartbeat?’ giving them a number 1 billboard hit in the US (A smaller hit in the UK recorded by Goldie & The Gingerbreads).
Their harmonies were also in demand providing backing vocals on ‘I Can’t Explain’ by The Who.
Their second release "Funny How Love Can Be", became a UK Top 10 hit. Further hits followed, including "That's Why I'm Crying" and "Tossing and Turning", which reached #3 in the UK chart in1965.
The original trio released just one album, 1965's This is the Ivy League – panned in the music press as disappointing, with its excessively wide spread of musical styles and material but demonstrating the creative skills as writers – before both Carter and Lewis left the group. Carter departed in January 1966, with Lewis leaving about one year later. The duo then set up a production company called Sunny Records
Following the release of their fifth single, John Carter was replaced by friend Tony Burrows (later of Edison Lighthouse, White Plains, Brotherhood Of Man and the Pipkins) other members of the band Neil Landon went on from the Flowerpot Men to join 'Fat Mattress (Noel Redding’s outfit formed post Jimi Hendrix Experience).
The Ivy League had one further hit without their two accomplished songwriters before being transformed into the 'Flowerpot Men' hitting #4 in the UK with its single "Let's Go To San Francisco" & ‘summer of love’ in 1967 with messrs Carter and Lewis fulfilling the roles of songwriter/ managers but little interest in touring again.
The New Vaudeville Band was a group created by songwriter Geoff Stephens in 1966 to record hisnovelty composition "Winchester Cathedral", a song inspired by the dance bands of the 1920s and aRudy Vallee megaphone style vocal. To his surprise, the song became a transatlantic hit that autumn, reaching the Top 10 in the UK and rising to #1 in the U.S. Global sales of the single were over three million, with the RIAA certification of gold disc status. The track also won a Grammy Award for Best Contemporary Song in 1967. The lead vocal was sung by John Carter who had sung on the demo of the record, which Stephens decided to keep for the commercial release. An initial long play Album was also issued in late 1966 by Fontana Records titled: Winchester Cathedral. The band were managed by Peter Grant (Later to manage Led Zeppelin).
In 1968 they featured in a cameo appearance in one of my all time favourite films ‘The Bliss of Mrs. Blossom’’ starring Shirley MacLaine and Richard Attenborough (Also featuring a wealth of British character actors and those destines to become legends in their own right such as Barry Humphries & John Cleese)
Starting early 1968 Carter's writing output under a variety of names, styles and recording project names with changing line ups became more and more confusing. Songs intended for The Flower Pot Men were released as Friends, Haystack and Dawn Chorus, only to be re-released in this century as The Flower Pot Men.
The 1970s saw Mary Hopkins became runner-up in the Eurovision Song Contest with "Knock Knock Who's There", which Carter had written with Stephens. Under the name John Shakespeare.
In the following years Carter released records under many names: Stamford Bridge (# 48 with "Chelsea"), Kincade, Scarecrow and Stormy Petrel. He also released a single as The Ohio Express, an American bubblegum group renowned for not playing or singing on most of their records. The hit came with "Beach Baby" by First Class in 1974.
After two First Class albums Carter started concentrating on writing advertising jingles. Among his work are commercials which demonstrate their genius, for the generation who grew up with them in the 70’s, by the ability to sing along to them after hearing them for the first time in 30 years. His Advertising jingles formed the backdrop of my youth with British adverts for Vauxhall, British Caledonian and Rowntree. (remember rowntrees tots?) and Birds Dream Topping are instantly recalled.
His TV writing credits span the mainstay of family entertainment from the 70’s providing memorable themes. See the huge list on IMDB
His last shot at a hit single was in 1979 as Starbreaker with "Sound of Summer".
In more recent times Carter has been managing the marketing of his back catalogue through Sunny Records, releasing many songs that were never released at the time of recording.
John – If you are ever available for an interview or back in Birmingham, let me know. You are my hero!
Buy an excellent John Carter compilation here
04/03/2009
XOVA - 14th Floor
02/17/2009
First interest in my stringed instruments
My little boy has begun to show his interest in my music. I bought him a little keyboard and he does a great impersonation of Keith Emerson (No Daggers!) and occasionally a touch of Little Richard (Feet) but he really likes the sound of my guitar and especially the Ukulele - I hope it continues without too many breakages!
02/12/2009
My Creative Space
The place where we create is unique, sometimes evolving as a reference based ecosystem which has layers, sections or distinct areas that can chart our creative evolution.
There seems to be an obsession with those who are non apparent creative’s to ‘de-clutter’ it becomes a mantra which usually follows periods of inactivity in their work. The problem is when they start to try and impose it as good practice in all areas or ‘activity’.
My creative processes are so varied that I cannot safely say there is a method, model or ideal space. Equally my creative environment and circumstances often dictate the creativity itself.
I noticed this when I had a civil service job after my degree (well you had overdrafts to get you through University in my time).
My 6 years studying art and having the luxury of a daily creative studio had lulled me into a state of mental and physical stretching. I could literally ‘swing a cat’ and not hit the canvas!
Having studied commercial art and design for four of those years, I was well organized and disciplined when I began my two year degree in the polar extreme of Fine Art. From early on my time had been organized around client briefs, schedules and the golden rule of all creativity (usually overlooked by those trained to not consider what happens when you leave education - institutionalized) It’s what you leave out that you have to learn.
When I began working in the office job – BAM! No space, no time and not inspiration.
Having been born into a family of artist’s I was lucky not to have the constraints placed on me by some parents whereby drawing and painting, music, writing etc is something you do as a hobby and I was always encouraged by my Mother (An art student of the sixties) to pursue my creative development.
The biggest factor was the creativity itself, I had always pursued all of them with equal passion. I chose not to ‘study’ music as at that time it was a very academic path leading to orchestral work – not for someone who had grown up listening to Motown, Zeppelin and The Beatles etc. But played in may bands since the age of 15 as singer, guitarist, bassist, keyboard or anything else I could get my hands on to learn to play.
In some ways I adapted quickly to my new environment where adults behave like frightened rabbits when the boss is around – or worse, like school children telling tales to teacher to make themselves look good. Wow was this a culture shock!
My approach to painting has always been a slowly evolving process and 90% of the time was preparing myself mentally for 10% activity. Mind you the 10% activity could be three days non stop with little sleep!
So what to do when you have no time? No space and when you do get home, eat and sit down it’s time to sleep? I adapted – and writing became my number one creative outlet. Sitting in café’s, people watching with a little notebook and pen – spending my lunch breaks (That’s what I mean about the school mentality) furiously scribbling my thoughts, ideas and poetry. I became schizophrenic in my two worlds. Like a quick change into the superman outfit as I left the office – becoming someone else entirely.
Circumstances change, jobs change and my creativity changes. There aren’t many areas of creativity I haven’t worked in over the last 20 years and I continue to evolve as the creative tools and culture evolves.
So the spaces also evolve. Clean, tidy and comfy café’s are great for my writing. Large open high walled studios for painting or music and my attic space has become the hub for my video and sound production.
It’s not written in stone – a small rented flat in Moseley was the place where I wrote loads fantastic music. It just seemed to lend itself to it for no apparent reason. It was no different to the last rented flat – but had a ‘feeling’ about it.
With this in mind I decided to take some snaps of my creative space in the attic and document my current environment. Organised chaos it may look like, but it’s my space. For this period of time anyway.
02/03/2009
Snow!
So we got some snow at last and just the chance to make a snowman - or what turned out to be Jesamine's Snow Lady!
01/24/2009
old perspective
Actually I had a few snap opportunities today - here's are some more
staircase, beautiful No?
Actually I had a few snap opportunities today - here's are some more
sky living
Made me laugh today when I caught a glimpse of this at the top of probably the tallest building in Birmingham. Just above it was the sort of space I was after.
12/09/2008
12/01/2008
Autumn Walk - Series 2 (Traditions associated with Autumn/ Harvest)
Photograph:Anthony J Hughes
Turning the Devil’s Boulder
Traditions associated with Autumn/ Harvest
5th November - Shebbear, Devon
After nightfall men carrying crowbars with women lighting their way approach the huge stone close to the village church. As the church bells peal out the villagers set to work to turn the stone over. Apparently the devil lives under the stone, and 'turning the Devil's boulder' is meant to avert bad fortune.
One legend recalls that the stone was quarried on the other side of the River Torridge at a nearby village, apparently intended as a foundation stone for a church there. But the devil rolled it away to Shebbear - and continued doing this every night as the villagers repeatedly rolled it back during the day.
Interestingly the stone is not of a type found locally and may therefore have been transported there in ancient times for some ritualistic purpose.
Autumn Walk - Series 2 (Traditions associated with Autumn/ Harvest)
Photograph:Anthony J Hughes
Enthroning of Boy Bishops
Traditions associated with Autumn/ Harvest
6th December
Many British folklore customs are of Celtic origin. The Celts divided their year by four great festivals, starting with Samhain, signifying the arrival of winter and the New Year, which fell on 1st November. Imbolc was next and occurred on 1st February, followed by Beltane on 1st May and Lugnasdh on 1st August.
Whilst these dates were all fixed within the Celtic year, the exact dates may not correspond precisely with those above, as dates were adjusted when first the Julian calendar was introduced, and later when England changed to the Gregorian calendar in 1751.The custom of choosing a Boy Bishop from the members of a cathedral choir is thought to date from the 13th century. Following his election he is fitted out in full Bishop’s regalia including robes, mitre and crozier. During the ceremony the chosen chorister and his attendants enter the church, or cathedral, and the new Boy Bishop takes his place on the Bishop's throne and receives a blessing. He then holds this post from the Feast of St Nicholas on 6th December until Holy Innocents Day on the 28th December. During this period he enjoys many of the powers and privileges of the real thing. The concept of grand people humbling themselves at least once a year is a well documented phenomenon within the Christian faith. The enthroning of the Boy Bishop was abolished by Elizabeth I and has only been revived in recent years.
It is still celebrated in: Berden, Hertfordshire; Boston, Lincolnshire; Bristol; Hereford Cathedral; Par, Cornwall; Edwinstowe, Nottinghamshire.
Autumn Walk - Series 2 (Traditions associated with Autumn/ Harvest)
Photograph:Anthony J Hughes
Winter Berries
Traditions associated with Autumn/ Harvest
Autumn has always been known in folklore as a magical time. The rowan tree’s vibrant display of berries in autumn contributed to a belief in protective abilities against spirits as suggested in the old rhyme: "Rowan tree and red thread / make the witches tine (meaning 'to lose') their speed". Pieces of the tree were carried for personal protection from witchcraft and sprigs or pieces of rowan were used to protect cows and dairy produce from enchantment. When showing autumn colour, the power of rowan trees was though to be greatly enhanced.
Legend says that by October the Devil has spat on blackberries, making them inedible. However, with bramble still flowering and new berries still coming there may be opportunities to enjoy the blackberries that the Devil missed!
Autumn Walk - Series 2 (Traditions associated with Autumn/ Harvest)
Photograph:Anthony J Hughes
Mop Fair
Traditions associated with Autumn/ Harvest
Mop Fairs (also "The Mop" singular and "Mops" plural) are a feature of many English towns and are traditionally held on or around "Old Michaelmas Day". They originated as a "hiring" fair and their history dates back some 600 to 700 years.
History
Farm workers, labourers, servants and some craftsmen would work for their employer from October to October. At the end of the employment they would attend the Mop Fair dressed in their Sunday best clothes and carrying an item signifying their trade. A servant with no particular skills would carry a mop head – hence the phrase Mop Fair.
Employers would move amongst them discussing experience and terms, once agreement was reached the employer would give the employee a small token of money and the employee would remove the item signifying their trade and wear bright ribbons to indicate they had been hired. They would then spend the token amongst the stalls set-up at the fair which would be selling food and drink and offering games to play.
Michaelmas Day is celebrated on the 29th September but Mop Fairs were tied to the seasons and the harvest, not the calendar. When the Gregorian calendar was adopted in 1752 and 11 days dropped from that year events associated with the end of the harvest moved 11 days later to the 10th October. This date is known as "Old Michaelmas Day" and since 1752 has been the date Mop Fairs take place.
Tewkesbury Mop Fair, as with others, takes over the entire town centre
Mops are still held in some English towns, though many have died out. To confuse matters some fairs have adopted the term Mop even though they are not held on or near to Michaelmas Day or they are a recent creation.
Mops usually last for 2 days and take over the centre of the town, they attract thousands of visitors. In recent times the Mops have become little more than a funfair with the traditional reason for the fair playing no part. Many of the rides at the Mop are fast, brightly lit and very noisy but traditional rides such as carousels and helter-skelters will still be found though their days may be numbered as visitors more and more ignore them for their more modern competitors.
Mop towns
The following towns have a history of holding Mops and still hold one each year on or around Michaelmas Day. A theme common to these towns is that they were, several hundred years ago, medium sized thriving market towns surrounded by a large number of smaller villages, hence their obvious choice as the location for the Mop.
Alcester, Banbury, Chipping Sodbury, Cirencester, Evesham, Kings Norton, Marlborough, Moreton in Marsh, Stratford upon Avon, Tewkesbury, WarwickAutumn Walk - Series 2 (Traditions associated with Autumn/ Harvest)
Photograph:Anthony J Hughes
Crying The Neck
Traditions associated with Autumn/ Harvest
Crying The Neck is a harvest festival tradition practised in the West Country of England, in particular Cornwall and Devon. Although mostly discontinued the tradition is still practised by members of the Old Cornwall Society every year.
In The Story of Cornwall, by Kenneth Hamilton Jenkin, the following explanation is given on the practice:
"In those days the whole of the reaping had to be done either with the hook or scythe. The harvest, in consequence, often lasted for many weeks. When the time came to cut the last handful of standing corn, one of the reapers would lift up the bunch high above his head and call out in a loud voice.....,
"We have it! We have it! We have it!"
The rest would then shout,
"What 'ave 'ee? What 'ave 'ee? What 'ave 'ee?"
and the reply would be:
"A neck! A neck! A neck!"
Everyone then joined in shouting:
"Hurrah! Hurrah for the neck! Hurrah for Mr. So-and-So"
(calling the farmer by name.)"
11/24/2008
Autumn Walk - Series 1
Photograph:Anthony J Hughes
`Ducks' Ditty.'
All along the backwater,
Through the rushes tall,
Ducks are a-dabbling,
Up tails all!
Ducks' tails, drakes' tails,
Yellow feet a-quiver,
Yellow bills all out of sight
Busy in the river!
Slushy green undergrowth
Where the roach swim--
Here we keep our larder,
Cool and full and dim.
Everyone for what he likes!
WE like to be
Heads down, tails up,
Dabbling free!
High in the blue above
Swifts whirl and call--
WE are down a-dabbling
Up tails all!
"The Wind in the Willows" by Kenneth Grahame
Autumn Walk - Series 1
The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way. Some see Nature all ridicule and deformity, and some scarce see Nature at all. But to the eyes of the man of imagination, Nature is Imagination itself.
- William Blake, 1799, The Letters
Autumn Walk - Series 1
"It was one of those perfect English autumnal days which occur more frequently in memory than in life."
- P. D. James
Autumn Walk - Series 1
| Autumn Movement | |
| Carl Sandburg (1918) | |
I cried over beautiful things knowing no beautiful thing lasts. The field of cornflower yellow is a scarf at the neck of the copper sunburned woman, the mother of the year, the taker of seeds. The northwest wind comes and the yellow is torn full of holes, new beautiful things come in the first spit of snow on the northwest wind, and the old things go, not one lasts. |
Autumn Walk - Series 1
| Spring and Fall | |
| Gerard Manley Hopkins (1918) | |
to a young child Margaret, are you grieving Over Goldengrove unleaving? Leaves, like the things of man, you With your fresh thoughts care for, can you? Ah! as the heart grows older It will come to such sights colder By & by, nor spare a sigh Though worlds of wanwood leafmeal lie; And yet you wíll weep & know why. Now no matter, child, the name: Sorrow’s springs are the same. Nor mouth had, no nor mind, expressed What héart héard of, ghóst guéssed: It is the blight man was born for, It is Margaret you mourn for. |
Autumn Walk - Series 1
| Robert Frost (1923) | |
Nature’s first green is gold, Her hardest hue to hold. Her early leaf’s a flower; But only so an hour. Then leaf subsides to leaf. So Eden sank to grief, So dawn goes down to day. Nothing gold can stay. |
_files/music.htm&usg=__jrhC6ykrCR6dm5duy4TMjhLtnOM=&h=655&w=796&sz=97&hl=en&start=127&um=1&tbnid=TtCEESSw8QgeeM:&tbnh=118&tbnw=143&prev=/images%3Fq%3DLittle%2BRichard%26start%3D126%26ndsp%3D21%26um%3D1%26hl%3Den%26client%3Dsafari%26rls%3Den-us%26sa%3DN){kind=link}
Recent Comments