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Destination Birmingham. Birmingham A Music City Scrutiny Report

Destination Birmingham. Birmingham A Music City Scrutiny Report

In 2010 Birmingham’s Independent Music Industry was asked to answer 10 Questions.

In May 2011 UK Music published “Destination: Music” the first study of its kind to scope the economic contribution of music festivals and major concerts to tourism throughout the UK. You can read all about it at http://www.ukmusic.org/news/post/147-music-tourists-contribute-at-least-864m-a-year-to-the-uk-economy

After May 2011 Emma Williamson (Group Overview and Scrutiny Manager) & Baseema Begum (Research & Policy Officer) at the Scrutiny Office of Birmingham City Council got in touch. Emma & Baseema sent through several documents that asked a number of interesting questions. Rather than try to answer the questions on your behalf, The Music Network decided to pass the questions on to you direct.

In October 2011 The Music Network asked Another 10 Questions.

The Music Network hope the discussion will continue. We have collected together your opinions, consultation and research here in the Strategy category.

In February 2012 An email and Scrutiny Report Document was sent to us by Baseema Begum, Research & Policy Officer, Scrutiny Office, Birmingham City Council. The email read as follows: More

Musoplex film opinions on Music in the West Midlands

Musoplex film opinions on Music in the West Midlands

Musoplex, a rehearsal and recording studio based in Oldbury, is looking for opinionated creative residents of the West Midlands e.g. promoters, bands, artists and management, to have a chat on video about the state of music in the region.  They have posted a few of their pilots online, filmed and edited by Musoplex Director Andy Ward.

Andy said “Musoplex as a studio and rehearsal rooms hears a lot of opinions as to the good and bad going on in music in the area. We have decided to do something about it, we are documenting views and opinions on film. If you want to offer your own opinions or comments to camera, in no more than a 10 minute interview e-mail andy@musoplex.com.”

Watch the videos for yourself, and if you have something to say, get in touch.

Another 10 Questions for Birmingham’s Independent Music Industry.

Another 10 Questions for Birmingham’s Independent Music Industry.

Last year, Birmingham’s Independent Music Industry was asked to answer 10 Questions. In 2011 The Music Network is asking Another 10 Questions to continue the discussion. Replies by email can be sent to: info at birminghammusicnetwork.com

In May 2011 UK Music published “Destination: Music” the first study of its kind to scope the economic contribution of music festivals and major concerts to tourism throughout the UK. You can read all about it at http://www.ukmusic.org/news/post/147-music-tourists-contribute-at-least-864m-a-year-to-the-uk-economy

In recent weeks Emma Williamson (Group Overview and Scrutiny Manager) & Baseema Begum (Research & Policy Officer) at the Scrutiny Office of Birmingham City Council have been in touch. Emma & Baseema sent through several documents that ask a number of interesting questions. Rather than try to answer the questions on your behalf, The Music Network has decided to pass the questions on to you direct. The questions have no deadline for submission, the questions will be open to anyone to answer at any time. Your thoughts and opinions are welcome, at any time. We hope the discussion will continue. For more opinion, consultation and research we have collected together, read through our posts so far in the Strategy category.

If you want to submit your own “Ten Questions” or even just “One new question” please email them in. When we have enough, I’ll post them as “More Questions”. Completed submissions will be published at http://www.birminghammusicnetwork.com unless you state otherwise. Please include your Name, brief biography or information about who you are and what you do, and links to your website or blog. You will be credited as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something. I will invite Emma, Baseema and their colleagues to read your published answers here on the website for themselves.

The following questions have been inspired by the contents of a letter to Birmingham Music Network from Councillor Philip Parkin, Chairman – Leisure, Sport and Culture, Overview and Scrutiny Committee, The Council House, Victoria Square, Birmingham, B1 1BB. (The letter was dated 29 July 2011)

Destination Birmingham: Birmingham, A Music City More

How can Government help creative entrepreneurs? What questions would you ask Policy Advisors on this issue?

Clare Edwards would like you to send her YOUR views, opinions and questions to put to some senior civil servants at Downing Street on the subject of How can Government help creative entrepreneurs?”

Clare says on her blog: “Well the latest opportunity is a chance to go to Downing Street next week to talk with senior civil servants (and possibly the odd policy advisor or Minister) in a 90 minute session to tell Government how they can better help creative entrepreneurs and where things are working and where are they failing.

I thought it would be interesting to see what questions you think I should be asking and in general what sort of constructive messages you think this group of policy makers and shapers should hear from creative businesses.

I’m not the only person who has been asked by the British Council to do this but I’m probably the only person from the the West Midlands so if you have ideas of how the government could help creative businesses in the future – leave me some comments and I’ll let you know which points I take with me and how I get on…

I have my own ideas on this but I’d love to go along with a broader understanding of the ideas, struggles and questions that others in the sector have. As you know I go with a music hat on personally but I think some of the issues for music are the same for other ‘creative industries‘. So if you run a creative business and think there is a burning issue I need to be aware of when I walk into Number 10 – let me know!

I’m going next Wednesday so you can suggest ideas right up to that time so…. I can take them with me!”

I’ve been reading with interest some of the comments already submitted including comments from Stef Lewandowski, Sarah Habgee, Nick Dunn, Ed King, Nick Booth, Dave Harte,  Norman Perrin, Robin Valk, and others. You can add your own comments, ideas or submit your questions to Clare Edwards here

Clare Edwards is a freelance music consultant and event organiser – she has run Gigbeth over the past few years, works with Soweto Kinch Productions, conducts Notorious and is a Chair of Sound It Out. Clare is involved with the board of Arts Council England WM, Moby Duck and is a Chair of Governors at a local primary school. In between Clare has found time to lead The Music Network monthly meeting and she sings with Ex Cathedra.

The people who control the Funding are damaging the Creative Industries in The West Midlands

Read the full article by Anthony J. Hughes here.

Funding procedures and practice and the funding and economic redevelopment projects aimed at supporting ‘creative industries’ has actually become a system supporting government ‘intervention[1]’ and policy. That policy has either intentionally or inadvertently become a controlling factor in the human act of creativity and now acts in a legislative, often excluding manner and is often damaging for the industries it claims to ‘support’[2].

The funding system has led to: –

1               A skewed artificial view of the creative industries in both nature, practice, shape, scope and for the purposes of counting economic value attached to it.

2               A new industry[3] which originated as a parasite on the back of creativity – and has now been extremely manipulative in reversing the role. This new ‘industry’ is policed by civil servants, accountants, admin paper pushers and is predominantly made up of those who are not from a creative background and have little or no understanding of the nature of either creativity or indeed commercial practice.

3               This layer of industry has a workforce skilled only in administrative practice and procedure.

4               This industry began to recognize its lack of credibility and sought to legitimize its position of ‘superiority’ over the creative industry by creating often unnecessary layers of beaurocracy and or statistical data analysis which bares no resemblance to the nature shape or practice of the business. In more recent years it has transcended this feeling of inadequacy and in a process of self promotion and sheer ignorance now largely believes in it’s own myth.

5               Because of this the funding system[4] is often flawed in it’s remit and misunderstands the nature of the industry. It has done two things: –
a)     Imposed artificial rules on creativity and therefore the creative process.
b)    Generated a need to either alter the course of original concept in order to gain financial support or cause the creative practitioner to give false indication as to the intention to meet those inappropriate requirements and outcomes.

6               The result is that the new industry of bid writers have taken up a very old industry mantle which solicits money under false pretenses – this used to be called extortion.

With this in mind we are currently at an important time for the creative accounting. The mad dash to spend spend spend which inevitably results in Shit Shit Shit!

If only there was a way to be…well…thrifty or selective in these times of tax-payer-benefactor[5]. If only there was a recognition for spending on the worthwhile and handing back if there weren’t enough interesting and culturally engaging things to ‘buy’. If only the decision was made by those who actually know something of the business and arts they are  ‘supporting’ If only they had ever run a business themselves – or even worked in the sector – or even worked in the commercial world.

But no, the directive engineered from policy (Government[6]) is ‘If you haven’t spent it this year then you don’t get it next year’[7] – which is basically saying creativity is a constant state and never deviates in volume. If you have set the bench mark at the start of the process then it remains the bench mark.

In fact – what we are talking about is imposing mechanical economic and fiscal practice on creativity.

It’s odd that to value creativity we need to align it with financial value and business terminology.

Are you creative? Come and see our business advisor…Have you got a good idea? Come and help us spend some money to provide us with an unnecessary position.

When the government foisted the ‘creative industries’ banner on us they were both insightful and manipulative. They also, without fail, get it spectacularly wrong. Where they are clever is in instilling plans through the route to everyone’s heart in these sorry times of economic downfall – CASH.

But only a little bit and never enough to create true independence from the hand that feeds.

5 – 10 years ago if I would ask any designer, musician, writer sculptor or painter if they see themselves as industry? The answer would be largely ‘No I am an artist’.

Well here’s the thing, ask the new generation of ‘creatives’ if they are industry and the answer is invariably ‘yes – I work in the creative industries’ so entrenched is this idea and terminology that within 5 years we have lost the right to be creative for the sake of it. Oh Thatcher you did wonders stamping out individuality.

The first to go were the independent art colleges – swallowed up by the dash to become a University by capacity rather than by design or accomplishment – not so much red brick as breeze block. There is no place for creativity in the traditional sense, free thinking, political insightful and dangerous. Does society really see creatives as lazy near-do-well’s or has government driven media created this notion? Was the lottery ever set up to subsidize Mrs. Jones’s hip op? Why have we consistently had the notion of a conflict between arts funding and health? And why do we have a whole layer of bureaucracy, civil servants, accountants, and now university teachers who perpetuate this nonsense because it makes for more interesting paperwork?

We have been assimilated by buzz words and business strategy and slowly grown dependant on funding in order to even create. What we have now is creativity by committee. If you want to create you have to follow the prescribed rules of engagement. You have to create by government design and in their own image. In short we have replaced the disproportionate scale of the once wealthy patrons alongside the slightly smaller religious figures with the same design albeit without the lapis Lazuli emblazoned clothes. Those writing the cheques are now the larger of the saints.

Where once we found the Catholic church peddling it’s own visual propaganda, we find a new religion peddling spending power.

Where once collectors were benefactors or there to be harbingers of good taste, we have a whole new industry of bid writers[8]

Creativity if it is an industry SIC code based business is in decline due exactly to those who purport to help and ‘advise’ it.
Businesses are closing daily and being replaced with funded projects who occupy the market sector with ‘free’ services. Free web design, Free video, Free marketing, Free business advice and free representation to governments and think tanks – but at what cost?

Ask any client whether they would like to buy a service or have it for nothing and guess what the answer is?

Ask any SME if they can offer a service cheaper than free? and well…

Real business with overheads are either propped up by funding themselves – usually distracted from core activity or being replaced with funded trading arms of universities and other education establishments who masquerade as profit making. RDA funded initiatives who have a finite life-span on the life support of the funding whims of those ‘in the know’. And we have the cartels who sit at every panel, discussion group and decision making board carving up  the spoils of the governments lame attempts to benefit the arts and emerging imaginary ‘digital revolution’. Those who write the opportunities and publish them reluctantly in the most obscure sites and papers so as to be ‘transparent’ in complying with the rules – but leaving little or no opportunity for anyone to bid for or win the funds which are already allocated to the usual suspects.

The system is corrupt, ineffective and manipulative. The system is not supporting creative industries – it is killing it!

[1] Intervention (Pr;- in-ter-feer-ing) – slang passed into popular parlance by repeated use in answer to criticism from the creative businesses about the one way didactic maner of knowledge transfer partnerships and other legitimizing tactics employed to gain some industry credibility by those with non.

[2] Support in this context meaning benefit by association with.

[3] RDA’s, Arts Funding Agencies, Socio-political and cultural agenda groups, associated and off-spring satellite groups both public and private sector. Professional and non professional bid writers and cultural ambassador groups with no remit perpetuating the ‘creative class’ theory of richard florida – Oh yes we’ve all read him so stop pretending you are so clever.

[4] Funding system has now become synonymous with the industry it uses as hostage.

[5] Term first coined by Anthony J Hughes 2008 all copyright reserved

[6] The self serving self perpetuating media elected business that offers a lip-service democracy to pacify the masses and avoid scenes of revolution and public execution.

[7] Approximation of the funding regime imposed by government/s summarized to a one-liner for the purpose of those who need help reading.

[8] This was formerly known as extortion – the gaining of moneys under false pretenses