Tag: uk (Page 3 of 3)

XOVA – The R GENERATION and needless life lost in the Afghan and Iraq war

January 7, 2010 /

Flyer for Gig on FRIDAY 8th JAN 2010 at THE HARE AND HOUNDS, £3 TO GET IN

The R GENERATION track is about the needless life lost, on all sides, in the Afghan and Iraq wars , we dont blame the soldiers who are doing there job, we blame the corrupt Governments and their supporters, for sending them to war and for lying to the people of the world on why we went to war. Wayne the singer wrote the track after a friend of his Joe Murphy from Castle Brom was killed.

XOVA are intending to stand for the next election to highlight the peoples concerns on the unjust wars and unwanted wars, single parents, knife and gun crimes, corrupt goverment policys were they spend millions on smoke and mirror policies instead of feeding and helping  the poorest (the majority nowadays) – GORDON BROWN AND HIS GOVERNMENT ARE TO BLAME and we as people have to vote them all out.

XOVA new album THE PRESSURES OF LIFE and the single R GENERATION are on ITUNES NOW, Also there are various remixes of the single by DUBNINE, G CORP nad ZONED OUT all on ITUES as well

XOVA website is WWW.XOVALIVE.COM or WWW.MYSPACE.COM/XOVALIVE

In addition to the political tracks we throw a lot of love and Irie vibes into the mix and a wicked stage show and XOVA could well be the New band of the year from Birmingham
STEVE HUGHES

National Survey and Mapping Exercise assessing provision & scope of music support work across UK 2009

September 22, 2009 /

The UK Music Sector Forum (MSF) is a network of music support agencies with the aim of providing a vibrant forum for the discussion of issues affecting music support projects and workers across the UK. The MSF has been in operation since 2005.

This survey and resulting report aims to assess the provision and scope of music support work across the UK in 2009.

The objective was to generate a set quantitative data from practising music support organisations for feedback and discussion about the Forums role, in relation to the ongoing benefit to the sector and its community of workers and participants.

During the research process over 100 organisations were contacted with 81 of those completing the survey.

32 organisations were unable to participate in the survey because:

• Their remit delivered a broader arts programme of which the music component was negligible.
• They were no longer active; remit had changed or lacked funds.
• The survey results were collated before response.

The questions were designed to allow freedom of expression and they generated an exceptionally high number of critically productive comments. Multiple respondents’ choices were recorded, but ‘skipped questions’ and ‘no response’ were not and therefore bore no influence on the presented statistical outcomes.

Links to information on each organisation can be found in appendices along with details of forty four (44) unmapped organisations identified for future contact.

This was a fact-finding exercise to identify underlying trends; these have been identified and highlighted using graphic software and filter analysis. Each respondent’s additional critical comments are also printed after each result graphic to aid synthesis of the data.

Conclusion

This survey and resulting data aimed to identify and raise important issues directly and indirectly affecting key operators and stake holders in the music support and development sector. From the outset it became apparent that to take the clearest sector ‘snapshot’, all those practising organisations, departments and bodies would need to be indentified and connected with as participants in the online survey questionnaire.

The large number and variety of respondents has resulted in sector wide coverage generating a resulting selection of quantitative data that can be used to inform a decision making process.

We look forward to your views and suggestions.

Email: contact at musicsectorforum.org.uk or pete at musicisours.com
Online network invite: email invite issued
Telephone: 01612170368

Peter Jenkinson – Music is Ours

Click to Download PDF here: National Survey and Mapping Exercise assessing provision & scope of music support work across UK 2009

Countercultural Capital & the Creative Economy – How do 1990s DiY Music ‘Entrepreneurs’ talk about the contemporary music business?” by Charlotte Bedford 2008

June 4, 2009 /

Here is a link to “Countercultural Capital & the Creative Economy – How do 1990s DiY Music ‘Entrepreneurs’ talk about the contemporary music business?” written by Charlotte Bedford for her MA Media Enterprise – Birmingham City University (May 2008)

It makes an interesting read…..here is a brief summary:

Placing independent music at the centre of the wider creative industries, this paper captures experiences and perspectives from 1990s DiY Music in order to inform the understanding of the rapidly changing ‘business’ of music.  The research builds on Leadbetter and Oakley’s (1999) description of a ‘new’ model of work derived from cultural entrepreneurs’ characteristic ‘independence’, and Wilson and Stokes’ (2002) subsequent paper on the changing nature of small independent businesses in the music industry.  These ideas are considered in relation to cultural and popular music theory, particularly drawing on Thornton’s (1998) concept of ‘subcultural capital’ where value within a music scene relates to the lines of demarcation differentiating between underground and mainstream.  The role of the cultural entrepreneur is examined through accounts and opinions of independent music practice then and now, exploring the extent to which the current Do-it-Yourself digital music trend is new and ‘independent’.

Newer posts »

© 2024 Birmingham Music Network

Theme by Anders Norén — Up ↑