This week’s blog is a repost of an article by Live Music Exchange’s Adam Behr in The Conversation following the recent announcement of a Rolling Stones tour. An article in Rolling Stone magazine described the legendary band – its near namesake – as “growing old angrily”. Its portrait of Mick Jagger referenced “age lines around his eyes … as old as …
This article examines the policies of the British Musicians’ Union towards the employment of musicians who were not UK citizens in the period from the 1920s to the 1950s, with particular emphasis on an alleged ban on American musicians entering the country.
This report, written by LMX’s own Emma Webster to celebrate the AIF’s sixth birthday, places the festival sector in its historical context and looks ahead to the future to see the issues currently facing festival promoters, with a focus on the AIF’s member festivals.
Today – Thursday 28th March 2013 – sees the publication of the first volume of ‘The History of Live Music in Britain’ since 1950, written by Simon Frith, Matt Brennan, Martin Cloonan, and Emma Webster, published by Ashgate.
An updated edition of the first truly comprehensive history of British jazz, covering American and British musicians and with additional photos and updated text.
Editorial for special edition of Social Semiotics – explains the relationship between the articles and provides an overview of the theoretical terrain of ‘the business of live music’
Today’s post by Professor John Izod, of the University of Stirling, has a historical bent and concerns the fate of musicians employed by cinemas in the 1920s. In many ways the issues facing musicians then were a world apart from those of today although one of the advantages of historical research is that it allows us to take a step back and adopt a broader view, which can reveal patterns that pertain over the longer term – to look back at the resonances between the disruptions to our current status quo and those that it brought about in the past.
This 20-image Pecha Kucha presentation by University of Glasgow PhD candidate Alison Eales gives a lively introduction to to the history of the Glasgow Jazz Festival.
This book reveals the previously hidden history of the censorship of popular music in Britain. This is detailed from the point of production in record companies, through retail outlets, attempts to prosecute records (and covers) in radio and television bans and in banned concerts and raves.
A comprehensive social history of ballroom dancing in Scotland, drawing on research and personal accounts, from the eighteenth century through to the 1990s.