eFestivals Forum

http://www.efestivals.co.uk

Mainly ‘commercial’ events: Festivals news, info, reviews and photos

and they have a message board that seems quite well used.

http://www.efestivals.co.uk/forums

have just subscribed. Username: ‘ tash ‘ [of course].

oh, and yet another chat room: http://www.efestivals.co.uk/chat

and, here the contacts for another alternative outfit:

Urban75

Urban75 http://www.urban75.com

Forums http://www.urban75.net/vbulletin

Chat http://www.urban75.com/chat.html

My index of ‘Collected’ Boards [all getting complicated, so have made this ‘umbrella’ page]

http://homepage.ntlworld.com/tash.lodge/Messages/index.htm

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Newsgroups

Hello.

I am seeking advice from any passers-by !!

I am not very experienced with newsgroups. I am familiar with some, but not many that are of interest to my subjects.

I am already subscribed to:

alt.activism

alt.free.party-lines

alt.gathering.rainbow

alt.music.festivals

alt.music.house

alt.music.techno

alt.music.trance

alt.photography

alt.rave

alt.society.anarchy

alt.uk.music.rave

misc.activism.progressive

rec.drugs.cannabis

rec.drugs.misc

rec.drugs.psychedelic

rec.nude

soc.culture.british

uk.environment

uk.gay-lesbian-bi

uk.music.rave

uk.politics.Environment

and, as it turns out, they are of different use and depth. Perhaps you could point me to more fertile pastures? There has to be more out there. Please drop us an email, if you can help with more suggestions. Thanks. Tash

Email: tash@gn.apc.org

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Just entered in guestbook, nice

Comment by Phil Peak ,

Posted on 12/Jan/2003

Hello Tash

I have just found your site after years of searching for info on travellers.

I spent 10 years or so living on the road and eventually went to Portugal in 1993 with my family, my soul mate Sara and our children we had a hard time but enjoyable,due to many things mainly the ex-pats in the area it was made very hard to live there so we shut up shop and came back to UK Sara is now a English teacher and I am studying to be an It lecturer for the TGWU, your site has opened up many old memories for me and I would like to thank you for that.

You have captured a very special time for the people of this country and not many of them will ever realise that it took place and is still taking place. I have many photographs from this time in my life from Castle Rigg to Cornwall many sites we lived on throughout the country and in Portugal if the would be of any use to you just drop me a line anyway and is it still possible to get a copy of Medievil briggands as my copy is a bit motheaten and wooly around the edges, cover gone need isdn number.

Thanks again for reanimating those wonderful years.

Peace too you and all of a like mind and heart.

Email: phil_peak@hotmail.com

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Mail from Goa

News just in ……. This man has just emailed me from Goa, India. Have just written back saying i’d love to go, but no one pays me enough for foriegn travel, for my work. So there it is! Mind you, cold outside and moment, and find thoughts keep wandering to somewhere hot ……….

wilson varghese

willinus@yahoo.com

Goa, India

Om Namah Shivaya…hi Tash !

hi Tash…..i have gone through ur site….and found the collections wounderful………an old antique collection of the party culture !…..memories to remember !

Gr8 work ! I hope u continue the same for the upcoming parties …but since u r a photographer…what is see is that u don’t go outside UK to get ur worth stuffs !…..U should probably visit India..thats my country….Goa and check out the scenes happening down there………..its really hot………u see hundreds of different culture people pouring down to keep the party alive……..

take care..

be in touch…….probably being in touch i might know more parties happening in and around.!

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A conversation in my chat room !!

Included, just for the giggle:

Tash: what do you do?

fruitbat1: military

Tash: you soldier?

fruitbat1: sailor

Tash: portsmouth perhaps, nottingham here

Tash: same name as that ship that didnt see australia coming!

fruitbat1: yep thats the one – I’m from leicester though

fruitbat1: yeah i know i know

Tash: dont they look out the front, over the sharp end?

fruitbat1: it’s funny you should mention that!!

Tash: you werent on it?

fruitbat1: yes, but not driving!!

Then he signs off ………

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Debunker of global warming found guilty of scientific dishonesty

Paul Brown – Environment correspondent – The Guardian

Thursday January 9, 2003

Bjorn Lomborg – the director of Denmark’s Environmental Assessment Institute and a leading would-be debunker of mainstream scientific opinion on issues like global warming and overuse of natural resources – has been found guilty by a Danish government committee of “scientific dishonesty”.

Professor Lomborg, whose work has been championed in the international press, was subject to a year-long investigation by the Danish committee on scientific dishonesty.

The committee, made up of eminent scientists, concluded: “Based on customary scientific standards and in light of his systematic one-sidedness in the choice of data and line of argument, [he] has clearly acted at variance with good scientific practice.”

On his book, The Skeptical Environmentalist, published in 2001, it said: “Subject to the proviso that the book is to be evaluated as science, there has been such perversion of the scientific message in the form of systematically biased representation that the objective criteria for upholding scientific dishonesty have been met.”

Prof Lomborg’s contrarian views made him a favourite of the rightwing establishment after the book’s publication.

On its election in March last year, Denmark’s rightwing government made him the director of its Environmental Assessment Institute.

The committee was appointed to look at four complaints against

http://www.guardian.co.uk/uk_news/story/0,3604,871320,00.html

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Licensing Bill 2003

You’ll all know of the changes in law, that have generally fucked up, our gatherings outside, Public order act CJA etc …….

Then there was the club licensing rules …… drugs etc and the ‘Barry Legg’ Act ………

And now, here comes the next one: The Licensing Bill 2003

This is a great overview

http://www.musiclovers.ukart.com/pels.htm

Local Government Association Info

http://www.lga.gov.uk/Briefing.asp?lsection=0&id=SXEF99-A7813934

http://www.lga.gov.uk/Briefing.asp?lsection=0&id=SXEF99-A7814395

Licensing Bill: Summary of key points

http://www.info4local.gov.uk/searchreport.asp?id=13063&frompage=subjects&subject=5

Licensing Bill: Ten archaic laws that will be repealed

http://www.info4local.gov.uk/searchreport.asp?id=13064&frompage=subjects&subject=5

Licensing Bill: Comparison – Existing and new

http://www.info4local.gov.uk/searchreport.asp?id=13065&frompage=subjects&subject=5

Licensing of Live Music in England and Wales

Carol singers will be criminals – without a licence – sign the petition!

http://www.wgma.org.uk/licensing.html

The “Blair Bans Morris” poster page

http://www.beerfordbury.com/BBTWTA/Banmorris.htm

THREAT TO LIVE MUSIC

The Government includes the Licensing Bill in its programme of legislation for the coming session and part of this bill relates to the issue of Public Entertainment Licences. Despite 233 MPs having signed David Heath’s Early Day Motion calling for the protection of live music, the proposed measures are draconian to say the least. Hamish Birchall is the advisor to the Musicians Union on public entertainment licensing reform. This is his analysis of the proposed legislation.

Licensing reform and live music

The broad aims of the Licensing Bill are to be welcomed, of course. Deregulation of opening times is likely to reduce binge-drinking, and alcohol-related crime and disorder. However, if all the provisions of this otherwise liberalising Bill were enacted, this would represent the biggest increase in licensing control of live music for over 100 years:

* 110,000 on-licensed premises in England and Wales would lose their automatic right to allow one or two musicians to work. A form of this limited exemption from licensing control dates back to at least 1899.

* Churches outside London would lose their licensing exemption for public concerts.

* Thousands of private events, hitherto exempt, become licensable if ‘for consideration and with a view to profit’.

* The same applies to any private performance raising money for charity.

* A new licensing criterion is introduced: the provision of ‘entertainment facilities’. This could mean professional rehearsal studios, broadcasting studios etc will be illegal unless first licensed.

* Musicians could be guilty of a criminal offence if they don’t check first that premises hold the appropriate authorisation for their performance.

* Likewise someone organising a karaoke night in a pub.

* Buskers similarly potential criminals – unless they perform under a licensing authorisation.

* Church bell ringing could be licensable.

* But… broadcast entertainment on satellite or terrestrial TV, or radio, is to be exempt from licensing under this Bill.

The licensing rationale, where live music is concerned, is essentially to prevent overcrowding and noise nuisance. The government claims their reforms will usher in a licensing regime fit for the 21st century. But surely 21st century planning, safety, noise and crime and disorder legislation can deal effectively with most of the problems associated with live music? Not according to Culture Minister Kim Howells. He says the swingeing increase in regulation is necessary because ‘one musician with modern amplification can make more noise than three without’.

Of course, it is true that amplification can make one musician louder than another playing without amplification. But that was true when the two performer exemption was introduced in 1961 and had been true for many years before that. The important question is: does live music present a serious problem for local authorities? Does it justify such an increase in control? The answer is no. The Noise Abatement Society has confirmed that over 80% of noise complaints about pubs are caused by noisy people outside the premises. The remaining percentage is mostly down to noisy recorded music or noisy machinery. In fact, while noisy bands can be a problem, complaints about live music are relatively rare.

In any case, local authorities have powerful legislation to tackle noise breakout from premises. All local authorities can seize noisy equipment, and they can serve anticipatory noise abatement notices. Camden used a noise abatement notice to close the West End musical Umoja earlier this year. One resident’s complaints were enough. And the police can close noisy pubs immediately for up to 24 hours. The trouble is, many complainants perceive the legislation as inadequate because their local authority doesn’t enforce it effectively.

It looks as if musicians are being made the scapegoat for a problem that is nothing to do with live music. Certainly abolition of the two-performer licensing exemption will do nothing to reduce noise from people outside premises. Rather late in the day, the Department for the Environment, Food and Rural Affairs (DEFRA) has just commissioned a study into the noise nuisance potential of the licensing reforms – but the study won’t be completed until the Spring of 2003 at the earliest. A classic case of shutting the stable door…

The government says that standardising licensing fees, with no premium for entertainment, removes the disincentive to provide live music. This change is welcome. However, fees are only half the problem. The other half is the potential for unnecessary local authority licence conditions. Earlier this year, Kim Howells warned the Musicians’ Union that if it were to lobby for satellite TV to become a licensable entertainment, this would be ‘resisted robustly’ by the leisure industry. He did not say why, but the reasons are clear.

The industry does not believe government assurances that local authorities will adhere to published guidance over future licence conditions. They fear the cost implications of conditions such as monitored safe capacities, and CCTV. (Two years ago the Home Office warned all local authorities not to impose disproportionate conditions. Few, if any, took notice). Genuine 21st century reform for live music, particularly small-scale performance in pubs and bars, would see England and Wales brought into line with Scotland and Ireland, continental Europe.

Scotland is a good example because public safety and noise is regulated by UK-wide legislation. In that country a typical bar or pub can host live music automatically during permitted hours, provided the music is ancillary to the main business. In New York City, premises of capacity 200 or less are likewise free of a requirement to seek prior authorisation for live music. Noise breakout is strictly monitored by street patrols. In Germany, Finland and Denmark the provision of some live music is assumed when the equivalent of an on-licence is granted. In rural Ireland no permission is need for live music in a pub, and customers would think it very odd to suggest that it be a criminal offence unless first licensed.

The Musicians’ Union has argued for reform along Scottish lines for some time. But the government has rejected this option. Our campaign for more live music, particularly in small venues, is supported by the Arts Council, the Church of England, Equity, the English Folk Dance and Song Society and many others. The Union recognises that premises specialising in music, or music and dance (like nightclubs) need the additional controls that licensing provide. But if live music of all kinds is to thrive in small community venues like pubs, an automatic permission, within certain parameters, is essential. We should not treat all musicians as potential criminals. That doesn’t sit well with the participation and access agenda of the DCMS.

What you can do

You can write to your MP expressing your concerns at the following address:

House of Commons,

London SW1A 0AA

Sign the petition against the proposed legislation. You can either do so online at http://www.musiclovers.ukart.com or look out for a paper version of the same petition at your local club or session.

and

Some of us in England and Wales who hold the making of music important, rather badly need the active support of all those that care for music. Our Government has not listened to us, they may very well listen to the views of potential overseas tourists. Especially as the Bill in question is quite bizarrely coming from the Department of CULTURE, media and sport, which is the same department that deals with promoting TOURISM. It would be a great help if you could inform your media, of this discrimination of all (but only) LIVE music, taking place, not by the Taliban but in the ‘mother of all Parliaments’, it could prove most helpful and be much appreciated.

The Licensing Reform Bill can be found on the UK Parliamentary site. http://www.parliament.the-stationery-office.co.uk/pa/pabills.htm

Government Minister Tessa Jowell, in the press release and at the launch of the Bill. “In short this is a Bill for the public, a Bill for industry and a Bill for commonsense.”

Can the introduction of measures in a Bill, that ‘can be argued’, such as the Schedule 1 definitions of what is ‘entertainment’- in a Bill we were all looking to finally settle such long-running arguments – really be described by the Minister in charge as “commonsense”? Schedule 1. Definitions of what is licensable – i.e. ‘entertainment’ that will be not be ‘permitted’ without the exact nature of the ‘entertainment’ specified in advance and official local authority permission being obtained. I’m sure that if you have looked at this it will all be perfectly clear now? SIGH..

I would also draw your attention to clause 134 (1)(a) of the main Bill, which will make criminal any musician who performs anywhere without first checking that the place is licensed/authorised for the performance. Clause 137 allows a defence of ‘due diligence’, but basically it means that if the musician doesn’t check first he/she could face heavy fines and a jail sentence.

The following from Hamish Birchall Musicians’ Union adviser – public entertainment licensing reform 020 7267 7700, 07973 519245

Yesterday the government published the Licensing Bill which, if enacted, would make criminal the provision of most live music in England and Wales, unless first licensed. As predicted, broadcast entertainment on satellite or terrestrial TV is exempt i.e. MTV. The proposals represent the most significant increase in live music licensing for over 100 years.

According to Culture Minister Kim Howells, this is necessary because ‘one musician with modern amplification can make more noise than three without’. But since most noise complaints are nothing to do with music (acoustic or amplified), and even one unamplified performer would become illegal unless licensed, this rationale doesn’t quite hang together.

Schedule 1, ‘Provision of Regulated Entertainment’, lists and defines what constitutes licensable live music and much more besides.

Temporary permissions are covered in Part 5.

Premises licences, which include the option for licensable entertainments, are dealt with in Part 3.

No fees have been published yet, but guidance notes available on the DCMS website repeat the estimates contained in the licensing White Paper of April 2000.

Neither the extensive media coverage or Parliamentary support for reform has influenced the small clique of senior civil servants and Ministers responsible for this legislation. Both the Musicians’ Union and the Arts Council argued forcibly against the huge increase in licensing control, and jointly submitted amendments to the Department for Culture, Media and Sport (DCMS) in the recent consultation on the draft legislation. But the DCMS rejected them. In that respect lobbying has failed. It may yet succeed, however, if sympathetic Lords support these amendments (the Bill is going first to the House of Lords).

All my efforts, those of the Arts Council working party, and those of supporting organisations, will now be focussed on this. In practical terms, this is what the Licensing Bill proposes for live music:

Pubs, bars, restaurants etc 110,000 licensed premises lose their automatic right to host one or two live musicians. A form of this licensing exemption can be traced back to 1899. Regular performance by even one musician, professional or amateur, amplified or unamplified, to be illegal without licensing permission.

Permission requires approval by police, fire service, environmental health dept, and local residents.

Local authority grants authorisation as part of ‘premises licence’ and may impose ‘necessary’ conditions (for public safety, crime and disorder, prevention of nuisance, and protection of children from harm).

If granted, the permission lasts for lifetime of business but may be revoked if noise/crime and disorder problems.

Licence fees to be standardised (at lower levels than now) and set centrally by Secretary of State. Fee to be no different if licensable entertainment provided.

If live music not authorised, live music to be illegal (save spontaneous renditions of Happy Birthday etc) – but see above -ed

Licence terms may be varied later if live music not chosen at outset. Variation process essentially the same as initial application (see above). A fee will be chargeable. Where live music not allowed under terms of premises licence, there is an option for up to 5 temporary permissions in a year, granted by a simple notification process (for a fee) provided under 500 people attend.

Private functions The distinction between public and private events is blurred. Until now most private gigs have been exempt from public entertainment licensing. Most gigs on public land have been exempt. This would no longer be the case. Many, if not most, performances in this context would become illegal unless licensed, either via the premises licence, a club premises certificate, or a temporary event notice. The wording of the Bill suggests that if a musician is hired to perform at a private event, this alone is sufficient to trigger the licensing requirement (this was hinted at in letters from Howells to MPs: ‘it is clear that if a performer is paid, then the performance is public’.)

Any hitherto private performance ‘with a view to raising money for charity’ to become illegal unless licensed.

Live music in private clubs no longer exempt.

Churches All public concerts in churches to become illegal unless licensed. This provision extends legislation that currently applies only in London to the rest of England and Wales. This is very strange, because the London legislation dates from 1963, while the outside London legislation dates from 1982. Music ‘for the purposes of, or for purposes incidental to a religious meeting or service’ is exempt.

New concept of ‘entertainment facilities’ as licensing criterion. This is another strange provision. It seems that providing ‘facilities for enabling persons to take part in entertainment’, such as making music and/or dancing, is now to be illegal unless licensed. It is a confusing part of the Bill, but my reading of this is that recording studios, rehearsal studios, or practice rooms may be caught. It might also include musical instruments, record decks, microphones, amplifiers, PAs etc etc. I am seeking clarification from licensing lawyers on this one.

Bandwagons exempt! Curiouser and curiouser: live music performed in, or presumably on, moving vehicles is exempt! Recorded music – limited exemption Recorded music is legal without being licensed ‘to the extent that it is incidental to some other activity which is not itself – (a) a description of entertainment falling within paragraph 2, or (b) the provision of entertainment facilities’. In other words, I think pub jukeboxes would be exempt, provided they weren’t next to a dance floor (but how do you define a dance floor???)

If you can find time to read the legislation, particularly Schedule 1, I would be very grateful for your comments.

Any musician lawyers out there: your input could be particularly valuable.

Roger Gall

Sign a petition at: http://www.musiclovers.ukart.com

A Musician’s Reaction

This Bill affects every performer, organiser, folk-dancer, singer & musician in the UK. You may think this bloke Roger (below) is being a bit extreme – in any case unlicenced jams & sing-arounds are illegal in many areas of England already. What upsets me a bit is that the strings are now being pulled very tight.

This new legislation will NOT STOP squat raves (recently in the news in the south-east)- those are illegal now, frequently involve a lot of property damage and are excellent places to buy skunk & E’s (it is alleged …). They take place unmolested because they are too big for police to break up.

What this law WILL do is to allow local councils to persecute folk clubs and stamp out jams & sing-arounds, free weekends and anything else that you have not given two weeks notice of and paid the right fee with the correct form in respect of.

The definition of entertainment you have to get permision for is now very wide – “… to any extent for members of the public ..” and there is a widely-drafted list of definitions in Schedule 1 paragraph 2. One ray of hope is that Lord’s Amendments tabled 2nd December seek remove religious and educational institutions from the overall definition, and plays, indoor sporting events and live music from the list – so someone’s taking this seriously.

I have been pulled up on my assertion that even children’s entertainers at a birthday party will need a licence. True, you couldn’t call this a “Play” any more that you would call a stand-up comic or after dinner speaker a “Play” – BUT performers frequently use and make music & dance – getting the kids to sing & dance is all part of the fun. There is a “entertainment of a similar nature” provision just in case there’s any doubt. Entertainers also play a “role” although I doubt if you could call what they do a Dramatic Piece, but on balance I stand by my opinion.

As to speakers and comics, I will accept that I’ve gone a bit over the top. It would take an effort of imagination to expand the definitions to fit them (but you never know) …..

If you feel strongly about this, please do write / mail to your MP NOW – also any of their Lordships that may appear relevant to you.

The draft Bill (PDF format) can be found at: http://www.parliament.the-stationery-office.co.uk/pa/ld200203/ldbills/001/2003001.htm

http://www.beerfordbury.com/BBTWTA/EntAct.htm

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Barclays Bank ‘advice’ re: Photographers

Barclays include the following statement on their finance and business website, re: Commissioning Photography!

“Professional photographers are expensive so consider using a good amateur. There is often little difference in the quality of the final product.”

BLOODY HELL!! the impertinance.

The National Union of Journalists, Freelance Organiser has written to the Barlcyays Chairman.

Sir Peter Middleton, GCB

Chairman

Barclays Bank plc

54 Lombard Street

London EC3

2.01.03

Dear Sir Peter,

My attention has been drawn to a website,www.clearlybusiness.com, supported by Barclays Bank in conjunction with Freeserve.

This site purports to offer sound advice on finance and business.

Among the advice currently on offer is the gem:

“Professional photographers are expensive so consider using a good amateur.There is often little difference in the quality of the final product.”

The National Union of Journalists has 35,000 members, many of whom are photographers. It is tempting to advise our members to dispense with the services of a bank altogether and simply stick their hard-earned cash in an old sock and tuck it under the mattress.

But that would be absurd – wouldn’t it?

Perhaps, though, your advice could be applied to other trades and professions. Why pay an electrician or a gas fitter when you could get some college student who will do the work for expenses only?

Then no one earns a living, no one spends money, bank deposits evaporate and the economy grinds to a halt. What sound advice!

I intend to direct my members to the advice on your website and allow them to decide if they wish to transfer their accounts to an outfit with a more professional attitude.

Yours sincerely,

John Toner

Freelance Organiser NUJ

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Channel Five children’s documentary series about young Gypsy/Travellers

I have just been looking at your website and I was wondering if you would be able to help with a search that I am doing for a television series.

I am in the process of searching for young people to feature in a new Channel Five children’s documentary series about young Gypsy/Travellers. The series will form part of Channel Five’s Saturday morning children’s schedule this summer.

This will be a 6 part ‘fly on the wall’ series aimed squarely at the under 16s. Our aim is to highlight a much-misunderstood way of life to an age group who are often very ignorant of the traveller lifestyle, with an emphasis on the fun and light-hearted side of life on the road.

I understand that many travellers may be suspicious of the motives of a television company wishing to film their kids through a summer, so I would really like to meet with any contacts that you may have in mind in order to answer any questions that they may have.

What we are looking for is a group of travelling kids aged between 10 and 18, who would like to be featured in the series, to be filmed intermittently over the course of the spring/summer of this year. They need to be sparky and fairly confident, with strong opinions about life on the road. I will be able to go and see anyone that you may feel would like to participate.

We would of course seek permission from the parents or guardians of anyone under 18 and would consult with them whenever filming was to take place. There would be no turning up unannounced and we would be sensitive to any issues that may concern them.

It would be great if you could provide me with a few contacts or if you prefer, I can go through you.

My details are:

Rupert Dobson

Two Four Productions Ltd

Quay West Studios

Old Newnham

Plymouth

PL7 5BH

Tel: 01752 333900

Fax: 01752 344224

E: rupertdobson@twofour.com

I look forward to hearing from you with any contacts/advice that you may have.

Kind Regards

Rupert Dobson

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Video Activism

by GIBBY ZOBEL, Big Issue news@bigissue.com

They came, they filmed, they got arrested. but did the video activists change the way news is reported?

The eviction of anti-road protesters from Claremont Road in East London took four days, cost £2 million and involved 700 police, 200 bailiffs and 400 security guards. In those pre-Swampy days of 1994, when road protesters were but a twinkle in a Coronation Street script writer’s eye, this epic battle received precisely 0.5 seconds of coverage on the national TV news. Paul O’Connor was there – as he had been throughout the urban siege to stop the M11 link road being built – and he was armed. “I got the camcorder at first because people were getting beaten up all the time,” he says. The camcorders multiplied, the footage built up, the activists organised and the pioneering film You’ve Gotta Be Chokin’ became the first in the can for Undercurrents, the alternative video news service.This month, five award-winning, ground-breaking, crowd-pulling years later, marks the end. Undercurrents – the video magazine – is no more. Gasps sound across the fields of genetically-modified crops, digging stops down the tunnels of the latest road protest and in the headquarters of the Forward Intelligence Team, police blink in disbelief.

For at any protest anywhere in the past few years you could practically guarantee at least one of ‘camcordistas’ would be in the thick of the action. To direct action activists, it’s the equivalent of the closure of the BBC World Service to ex-pats, if you’ll excuse the mixed-media metaphor.

Paul has been an ever-present lynchpin throughout the production of the series. “I’m like one of those bind weeds that you can never get rid of,” he says. But now, he’s reached burn-out: “There are too few people doing too much trying to survive on too little.” Undercurrents sprang out of the chasm created by the mainstream media’s failure to cover grass roots opposition to the Criminal Justice Act 1994.

When a march of 100,000 protesters ended in a riot in Hyde Park, the mainstream media finally took notice. “We tried national news but they were not interested in the issues,” says Paul. “They were interested in two seconds of people falling or something being smashedŠ But this wobbly, crap footage was powerful and amazing. It was like nothing else people had seen before.” A review of Undercurrents 1 on ITV’s Little Picture Show pointed the way. “It was on late at night and suddenly all six phones of our lit up for two hours, non-stop,” says Paul. There was always a DIY feel to the whole thing. Every penny went into buying an editing suite after the first video was knocked out in co-founder Jamie Hartzell’s bedroom. Their ‘blank’ tapes were blagged from skips thrown out by ad firms in Soho. Despite being sold in the so-called ‘aromatherapy ghetto’ – the shelves of green, hippy, peace shops and via mail order – an estimated 200,000 people have seen the videos – and that’s globally: Undercurrents 9 has just been screened in Ethiopia and Albania.

“I grew up in County Dublin amid fields and farms,” says Paul. “When I was 12, it became part of the city of Dublin. Everything was paved over. We used to smash things up to stop them building the houses. That all came back to me in the M11 protest really. It made sense that this whole thing was like a cycle. It re-confirmed activism for me.”

Undercurrents quickly expanded its scope from the initial road-building debate, encouraging links across the spectrum of protest to eventually cover issues like the deaths of black people in custody. No Justice, No Peace, covered the death of Brian Douglas. “I saw the news report of the same protest, and it was so bland – straightjacket TV. That’s when we realised how TV is made. Our video was powerful – pure anger,” says Paul.

Helen Iles is a media teacher at Carmarthen College in south-west Wales.”Undercurrents is absolutely vital,” she says. “It widened horizons, and didn’t pretend to be unbiased, whereas most news is presented as objective or natural.” Although the closing credits have rolled for the last time,Undercurrents will become an educational resource. The Undercurrents archive, run by Roddy Mansfield, will continue to exist. “It will be a crucial training and empowerment resource for many years to come,” he says.

And for Paul? “This is only the end of the beginning. Undercurrents has probably run its course in terms of radical environmental direct action. I think social issues is where it needs to go. How many times do you hear the voices of the Chinese community, for example? We set out to challenge TV and TV news reporting and we have done that. Second, was to create video activists and I think we’ve succeeded on that. We’ve seen real people inspired. We wanted to connect single issues. I think it’s amazing what we have achieved.”

underc@gn.apc.org http://www.undercurrrents.org


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Will the television be revolutionised? Local Terrestrial TV comes to the UK

by Dave Greenhalgh

contact i-contact@gifford.co.uk

On February 11th, the i-Contact Video Network held a public meeting at Easton Community Centre to discuss Bristol’s new local TV channel. By the end of the year, it is expected that half of Bristol will receive an exclusive local TV service available to all television sets on channel six.Reaching 200,000 viewers, including Easton, it will accompany similar experiments in local terrestrial TV throughout Ireland and the United Kingdom. The Independent Television Commission have handed out two year

Restricted Service Licences (RSLs) across the U.K. City TV of Wiltshire have received international frequency clearance for a Restricted Service Licence (RSL) for Bristol and have applications pending for Bath, Exeter, West Wiltshire and Taunton.

Guest speaker at the i-Contact meeting was Dave Rushton, Director of the Institute of Local Television, chair of Scottish RSL holders Channel 6 and lecturer in Media Production and Media Management at Edinburgh University.After years of campaigning, he sees the RSLs as an experiment with the chance to persuade the government of the need for locally based TV, possibly

financed as Public Service Broadcasting by TV licence fees. Rushton says that RSLs are, ‘the last great television adventure which encourages broadcasting by community groups, voluntary associations, colleges and universities as well as by radio broadcasters, smaller television producers,video workshops and access centres. By connecting citizens to one another,

it could regenerate a sense of community and combined identity. If combined with the new information communications technologies, it could enable a more responsive, interactive political system to develop at a local level’.

City TV’s Simon Bond also addressed the audience of 60 or so. He outlined a commercially pragmatic ‘bottom line’ where the formula is viewers equals advertisers equals income. He explained the high costs involved in terrestrial broadcast compared to the less expensive equivalents of cable based public access TV in the United States (where most households have cable). City TV’s model comprises an even mix of shopping channel, video juke box and studio phone in. Simon Bond, former director of public affairs at Telewest, has so far declined to reveal who is financing the estimated 1.5 million capital funds required for the South West although he admits that both financiers and advertisers will be able to influence content. ITC safeguards against corporate control ensure that there must be a national plurality of ownership of TV broadcasters. However, there would appear to be little to prevent a large company using the local RSL as a golden advertising opportunity by monopolising and controlling content.

Dave Rushton has outlined a model for democratically run Television Trusts and cites examples in the U.S. where citizens own shares in the local channel raising funds through pledges made each year on a fortnight long Red Nose Day type promotion. A channel 6 model in Barnsley, a former mining community, is successfully developing around a community ownership

structure.We need to rethink the concept of what television is. Run locally, it needn’t subscribe to the high production values of the BBC, but could be content-led and directly relevant to the community. In Holland, one local TV channel rolls over the same set of programmes hourly, changing each day, more like a newspaper that you can pick up at any hour in the day. An

interest group, for example the Multiple Sclerosis Society, could be given a 20 minute slot each month to promote its aims and services. With role over every hour, a diverse range of 100 groups a month of immediate interest tothe community could be represented. Charities, business and central funding could support young talent to produce these valuable information films. It

could provide school, college and university media students with the perfect project.

Neither would a local sixth channel have to broadcast pictures at all times. It could be used for radio on TV supported by for example computer graphic art, only broadcasting when visual material is called for or available. 800 or so teletext pages could be used for anything from the local second hand car dealer through support for the homeless, homework support for school

kids to a local entertainment guide. Unlike the web, 99% of households have TV, 70% of which support teletext. The internet means we can easily access community TV output from other local communities around the globe, share our

experiences, bypass centralised news filters and never be short of material o broadcast. People needn’t be intimidated or even impressed by the BBC’s long established model, but rather can rather begin to creatively participate in TV as a truly interactive medium.

Without a chunk of our Public Service Broadcasting licence fee going to our local TV, however, or unless there is some other form of community accountability, we are reduced to lobbying City TV and their financiers for a chance to effect what goes into our local TV channel.

A Bristol coalition is in the process of forming to promote local accountability and input into the new channel.

Further information is available from:

i-Contact Video Network

c/o 76 Mina Road, St. Werburghs, Bristol BS2 9TX

Tel 0117 914 0188

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Nicked if you do, nicked if you don’t… By Mike Holderness

mike.holderness@mcr1.poptel.org.uk

In the Thames Valley, it seems that journalists covering demos may get arrested on the grounds that they are protesters in disguise. In Birmingham, the only way that journalists can get close to a major news story is — you guessed? — by disguising

themselves as protesters.

Photographer Nick Cobbing was arrested in Oxford on 12 December 1998 merely for leaving a demonstration, it seems. When the event,one of a series of animal rights demos, quietened down, he “told a senior police officer that I wanted to leave, and showed him my NUJ press card,” Nick told the Freelance. Then two different police officers arrested him for leaving the demo, under Section 12 of the Criminal Law Act 1986.

Nick says he told the arresting officers clearly, three times, that he is a journalist, covering the event for the German news-weekly

Stern, and they should note the press card around his neck.Fortunately, a colleague had the presence of mind to get Nick’s

film from him.An Italian TV camera operator, a random passer-by and Roddy Mansfield of the Undercurrents video group were also arrested. When Roddy’s colleague Paul O’Connor called Thames Valley Police, Press Officer Janet Malcolmson explained that press cards are forged by animal rights protesters. She had no recollection of saying anything about forgeries when the Freelance later spoke to her, but stressed that the Thames Valley Force had encountered “people claiming to be journalists and press photographers and subsequent enquiries have shown that they are not.” She did not know who had done this, or where, or when.

The NUJ Press Card is (officially) recognised by all UK and Ireland police forces. It carries a Metropolitan Police telephone number which any officer can call to confirm a journalist’s identity using a PIN number.

At the suggestion of London Freelance Branch, NUJ General Secretary John Foster is writing to all Chief Constables, asking them to remind all their officers of the working of the Press Card. The Union would be interested to hear any concrete reports of impersonation or of forgery.

Meanwhile, in a different part of the forest: the Freelance understands that journalists have resorted to impersonating protesters

to report the eviction of those obstructing the romantically-titled Birmingham Northern Relief Road. The alternative is to check in at

a Rugby Club clubhouse four or more miles from the action, presenting a special BNRR press card.

Successful applicants are driven in a mini-bus by security guards to a fenced press compound, equipped with a tower for still and TV photographers. Protester Muppet Dave tells the Freelance that the tower is not visible from interesting parts of the action. BBC

West Midlands senior correspondent David Gregory says the view is adequate. The fence around the eviction site was made opaque with plastic sheeting on 12 December. During the first week of December this arrangement was enlivened variously by a BBC crew strolling onto the site and being evicted, and by two agency reporters diving out of the minibus and making a run for it. The Freelance is not aware of any charges or threats of prosecution. Bailiffs simply ban entire news organisations. Live TV and BBC TV West Midlands are amongthose to receive this accolade.

David Gregory stresses that the ban, following enthusiasm by “an alleged chief news correspondent who is leaving anyway — for

other reasons” has been sorted out. He understands that the Highways Agency, bailiffs and the police are concerned about the safety implications of a lot of hacks running around an eviction site. The protesters object to his crews filming certain things, too. Anyway, “we are getting video footage out — the protesters have cameras of ours, and ITN and Sky have cameras in there too.”

Hang on — now we have protesters working as journalists,because of the Highways Agency reporting ban.

The 1998 NUJ Annual Delegate Meeting passed a motion, proposed by London Freelance Branch, instructing the National Executive “to call, organise, finance and attend dignified collective defiance by journalists of future reporting bans.”

Undercurrents produced an award winning documentary about Police supresssion of the news. Breaking News in on UC9

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Two in a bar to none in a bar – the Licensing Bill

You’ll all know of the changes in law, that have generally fucked up, our gatherings outside, Public order act CJA etc .

Then there was the club licensing rules, drugs etc and the ‘Barry Legg’ Act.

And now, here comes the next one

Licensing Bill 2003

http://www.musiciansunion.org.uk/articles/two_in_a_bar02.shtml

On 15 November 2002 the government published the Licensing Bill. It was launched as a ‘central plank in the government’s drive to tackle antisocial behaviour’. This comprehensive overhaul of liquor and public entertainment licensing proposes, among other things, to deregulate pub opening times. However, it also dramatically increases the licensing of live music performance, and replaces the ‘two in a bar rule’ with a ‘none in a bar rule’.

The Musicians’ Union welcomes the broad aim of the Licensing Bill insofar as deregulation of opening times may reduce binge-drinking, and alcohol-related crime and disorder. However, we oppose key elements of the reforms as they apply to live music. if all the provisions of this otherwise liberalising Bill were enacted, it would represent the biggest increase in licensing control of live music for over 100 years:

110,000 on-licensed premises in England and Wales (pubs, bars, restaurants etc) would lose their right to allow one or two musicians to perform. A form of this limited exemption from licensing control dates back to at least 1899.

Broadcast entertainment on satellite or terrestrial tv, or radio, is to be exempt from licensing under this Bill.

15,500 Churches outside London would lose their licensing exemption for public concerts.

5,000 registered members clubs lose their licensing exemption for public entertainment.

The very wide definitions in the Bill would cover carol singing and bell ringing (unless incidental to a religious meeting or service).

Thousands of private events, hitherto exempt, become licensable if ‘for consideration and with a view to profit’.

The same applies to any private performance raising money for charity.

Tens of thousands of private wedding receptions, parties, and corporate functions would become illegal unless licensed (the wording of the Bill suggests that payment to musicians triggers the licensing requirement).

A new licensing criterion is introduced: the provision of ‘entertainment facilities’. This could mean professional rehearsal studios, broadasting studios etc will be illegal unless licensed.

Musicians could be guilty of a criminal offence if they don’t check first that premises hold the appropriate authorisation for their performance.

Buskers similarly potential criminals – unless they perform under a licensing authorisation.

The maximum penalty for unlicensed performance remains a £20,000 fine and six months in prison.

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Two in a bar to none in a bar – the Licensing Bill

You’ll all know of the changes in law, that have generally fucked up, our gatherings outside, Public order act CJA etc .

Then there was the club licensing rules, drugs etc and the ‘Barry Legg’ Act.

And now, here comes the next one

Licensing Bill 2003

http://www.musiciansunion.org.uk/articles/two_in_a_bar02.shtml

On 15 November 2002 the government published the Licensing Bill. It was launched as a ‘central plank in the government’s drive to tackle antisocial behaviour’. This comprehensive overhaul of liquor and public entertainment licensing proposes, among other things, to deregulate pub opening times. However, it also dramatically increases the licensing of live music performance, and replaces the ‘two in a bar rule’ with a ‘none in a bar rule’.

The Musicians’ Union welcomes the broad aim of the Licensing Bill insofar as deregulation of opening times may reduce binge-drinking, and alcohol-related crime and disorder. However, we oppose key elements of the reforms as they apply to live music. if all the provisions of this otherwise liberalising Bill were enacted, it would represent the biggest increase in licensing control of live music for over 100 years:

110,000 on-licensed premises in England and Wales (pubs, bars, restaurants etc) would lose their right to allow one or two musicians to perform. A form of this limited exemption from licensing control dates back to at least 1899.

Broadcast entertainment on satellite or terrestrial tv, or radio, is to be exempt from licensing under this Bill.

15,500 Churches outside London would lose their licensing exemption for public concerts.

5,000 registered members clubs lose their licensing exemption for public entertainment.

The very wide definitions in the Bill would cover carol singing and bell ringing (unless incidental to a religious meeting or service).

Thousands of private events, hitherto exempt, become licensable if ‘for consideration and with a view to profit’.

The same applies to any private performance raising money for charity.

Tens of thousands of private wedding receptions, parties, and corporate functions would become illegal unless licensed (the wording of the Bill suggests that payment to musicians triggers the licensing requirement).

A new licensing criterion is introduced: the provision of ‘entertainment facilities’. This could mean professional rehearsal studios, broadasting studios etc will be illegal unless licensed.

Musicians could be guilty of a criminal offence if they don’t check first that premises hold the appropriate authorisation for their performance.

Buskers similarly potential criminals – unless they perform under a licensing authorisation.

The maximum penalty for unlicensed performance remains a £20,000 fine and six months in prison.

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WillyX get arrested :: ‘George and Tim Shake hands: – Stonehenge issues

WillyX gets arrested, Again 🙂

and .. .. .. thought you might enjoy this snap of George Firsoff and Tim Ingle-Abbott from the Stonehenge Peace Campaign .

Nice snap of them ‘agreeing and shaking hands’. Meaningless really though, ‘cos they’re on the same side………….

A full sized 1000×814 version of the picture, can bee seen at:

http://tash.dns2go.com/FTP/jpg/0269_20Aslide1000.jpg

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A Technical Foundation To Building A Sound System

To most people, sound systems seem very simple – some speakers and some amplifiers, and you’re all set. In addition to this frequent simplistic perception, many people honestly can’t tell the difference between a good system and a bad one. Many defining elements of a “good” sound system are in fact a matter of opinion. Fortunately, among audiophiles and engineers, there is a lot of agreement on these elements.

There are interesting differences that exist in the opinions of audiophiles, engineers, and sound providers. Audiophiles and sound providers typically rely more upon first hand and communicated experience. Audiophiles tend to make judgments on perceived sound quality above all else – which is what it really comes down to. Engineers often get hung up on technical details, and sound people will often simply echo what the current mainstream industry practice happens to be. The engineers have because of their educational background some powerful and insight giving tools though, such as the Laplace transform and various Signals and Systems concepts. Audio Engineers are also knowledgeable of psychoacoustic principles, which play many important roles in music and sound, and give insight into music itself and how we experience it. Naturally, with experience and openmindedness, the perspectives of the differing groups become closer. Given the relatively advanced technological state of audio equipment however, the domains of engineering and mathematics remain the primary avenues via which advancements and contributions to the state of the art are made.

Suffice it to say there are a lot of subtleties that go into a good sound system – more than can be fully understood without extensive scientific knowledge, yet not so many that the issues cannot be explained in basic terms in a reasonably sized document.

An important side-note is that one should always be careful in taking as valid what anyone says about sound systems, and should carefully review their motives, experience, and training. Hype and marketing seem to be the way most business gets done in this new millennium – particularly in the music world. When seeking out information, keep in mind that the credibility of various information sources is often less than ideal. Many people’s opinions are often biased toward their own financial interests, and/or their own lack of knowledge or experience in a given area. Only those who put the time and energy into seeking out a wide array of information resources can achieve true quality and sophistication.

More info on this, starts at:

http://www.partyvibe.com/articles/building_a_sound_system/introduction.htm

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