Tag Archives: Interviews

Buckcherry and Hoobastank – Interview with Buckcherry (Alternative Format)

So last month I did an interview with the band Buckcherry, and the interview piece I did was considered too feature like to publish, so it was changed in accordance with the magazine’s format. This sometimes happen and is not something I can be upset about – but gives me the chance to share with you my original vision for the piece here. Enjoy.

Listen to Buckcherry for about 15 minutes and you’d probably think the world had gone to hell in a hand basket. “All music sales have gone down the sh**ter” says guitarist Stevie D. It’s an interesting start to our discussion, but one I’m more than willing to explore further; “Yep, it’s the ‘age of streaming’ and recorded music has become the loss-leader, a kind of trail of breadcrumbs to the live show.”

Yet, despite the perceived negativity of this statement, there are actually a lot of positives. Why shouldn’t more fans get the chance to see their favorite artists performing in a live environment as well as the fixed impression traditionally immortalized inside the song? And nobody quite does live performances like Buckcherry. Although the band has seen a lot of change over the years, the one constant has been founder and lead vocalist Josh Todd, who has remained firm at the helm guiding the band through uncertain waters. Stevie agrees, saying “the one constant, and probably most important [thing], is Josh’s vision and songwriting in Buckcherry… It’s no secret there’s been a few different players along the way, some integral, some not, but the fact remains Buckcherry is one of the last, successful, uncompromised rock n’ roll bands out there.. And musically, it’s the best it’s ever been.”

Formed in California in 1995 the group has toured worldwide, releasing two albums before dissolving in 2002, being ‘re-imagined’ in 2005 and releasing the biggest crossover hit to date; ‘Crazy Bitch’ from 06’s ‘15’ – a song about as crazy as they come. Todd’s distinctive vocals are unmistakable, as unique as Chris Cornell’s or Axl Rose’s belong to those artists, and he once recorded with Guns N’ Roses Slash and Duff McKagan, in what was rumored to be the forerunner to Velvet Revolver featuring the late Scott Weiland.

Personally preferring the track ‘Lit Up’ myself, there’s something for everyone in this band, with Stevie reminding me of the multifaceted layer of their own performances; One thing’s for sure, you’ll get the hits. We’re in rehearsals now for the Warpaint record cycle, and since the musicianship in this band is at an all-time high, I’d like to stretch out musically during the segues and solos…” proving, if nothing else, you’ll get a full night’s entertainment. Before we part there’s just a little time to talk about their support for the night, which comes in the form of fellow veterans Hoobstank (remember ‘The Reason’), as Stevie explains “I met them back in ’06 and would run in to them at festivals, and eventually we would end up doing shows together in SoCal. The singer Doug Robb is a downright kickass front man with a solid machine behind him”.

We can definitely agree with that. As if you needed another reason to see this band live. Sorry

https://academymusicgroup.com/o2academynewcastle/events/1211037/buckcherry-hoobastank-tickets
Buckcherry + Hoobastank
02 Academy Newcastle
February 12th 2019;
£25.00 (plus Booking Fee)

Burying The Formats

“I definitely believe the next decade is going to be streaming plus vinyl – streaming in the car and kitchen, vinyl in the living room and the den. Those will be the two formats. And I feel really good about that.” Jack White, Rolling Stone

 There’s been a lot of talk in the last few weeks about the death of music. 2019 is barely five days old and already I’m reading how it will be the last year in which we expect to buy physical formats on a large scale as consumers. Of course, it’s early January, so there’s no doubt an endless amount of copy that has to be written and the statistics published commemorating the achievements of the last year always seem like a good place to start.

According to the BPI, or British Phonographic Industry, 2018 has seen a decline of 23% in CD sales compared to the twelve months previous. Year on year this equates to a drop of 9.6 million but comparing figures from ten years ago, there’s been 100 million fewer CDs sold.

That in itself is easily explained. Changing consumer habits, including streaming services, have meant that we’re now far more likely to purchase digital downloads or a subscription than a physical product. Less cars feature CD players, of course, and much like its predecessor the cassette it’s simply not cost effective to produce them on such scale. Shrinking shelf space in supermarkets doesn’t help, of course, but HMV’s recent woes would suggest we seem less interested in actually owning our own music.

Last night I spoke with a friend and commented that, aged 17, it would have been abhorrent for me to think of being a fan of a band and not owning the majority of their albums at that time. Singles, EPs, Albums, live releases, you name it – I would have wanted it – and yet nowadays the proverbial snowflakes of the generation are probably uninterested in purchasing and acquiring such physical content. Almost 17 years later it seems that my way of expressing interest in a band is simply not the same and this change can easily be seen.

According to the BPI, however, there is hope in some areas. Vinyl sales have grown just 1.6%; and although this is not an astronomical rise, it is a rise nonetheless – with 4.2 million records sold.  That in itself is a rise upon previous years sales and means sales have yet to stagnate or even decline. Considering this format was originally abandoned due to its ‘impracticality’ I would still equate this to ‘new’ Vinyl being a successful format.

A younger music fan I met recently in HMV was heard to remark to her friends that she wanted to own only Vinyl albums, with the artwork and design being the main reason for doing so. From a practical point of view, they also make excellent mementos, should you be lucky enough to get them signed or obtain a limited ‘colour’ edition upon release. Some record labels, such as Germany’s Nuclear Blast, will regularly release the same album in several variants from popular artists – and it’s not uncommon for hard-core fans to want to purchase every single one. I mean, somebody has to be buying them, right?

It’s certainly true to say that we’re becoming more consumer conscious, watching everything from our weight to our spending habits, and choosing things a lot more carefully than the generation before. Even so called ‘luxury’ items or disposable income simply isn’t as clear cut as it once was. Ed Sheeran’s album ‘Divide’ definitely divided fans, with 59% purchasing the album digitally and yet 40% purchasing the album physically; making it one of the UK’s biggest selling albums of 2018. The biggest, perhaps unsurprisingly, is the soundtrack to ‘The Greatest Showman’.

The film stars Hugh Jackman as PT Barnhum, an American showman, businessman and politician who perhaps equates more to Donald Trump and Vince McMahon today as he does to the actor who plays him. Sales of this film – whose soundtrack remained atop the UK Album Charts for 23 uninterrupted weeks – led to record breaking sales. Christmas week alone, it’s 22nd week, the soundtrack sold 57,000 copies alone with 48.7% Digital and 51.3% physical confirmed sales across 2018 in the UK. This soundtrack hasn’t left the Top 5 of UK Album Charts all year and is just one reason why Hugh Jackman is one of Hollywood’s hottest properties.

The picture is the same in America, where CD sales have fallen 80% in the last decade, from roughly 450 million to 89 million. “Lots of us have changed the way we consume music and film, and more people are streaming from Netflix or Spotify,” Kim Bayley of the Entertainment Retailers Association recently told BBC Radio 5 Live.

“But I think we should remember that [physical music] is almost a £2bn business. Even HMV has sales still of a quarter of a billion pounds, so that’s not a small business.” Others see it differently;

“I don’t buy it that physical music is necessarily competing with streams. We all access music and film on the internet, and that’s fine and healthy and valid, but you wouldn’t look at the Mona Lisa on your phone and think it’s the same thing as going to see it in a gallery.” 

“The reason vinyl sales are at a 25-year high is because people are rejecting this part of modern society where everything is immediate and nothing means anything.”

Jon Tolley there quoted from a BBC article, who runs the independent record shop Banquet Records in London, arguing that perhaps Vinyl is a way for consumers to rebel against a disposable society. A novel concept, if not somewhat expensive.

Perhaps the most surprising statistic, however, is Vinyl’s effect on sales in 2018. Of course, we all know Vinyl has made an impact, but the artists who make the biggest sales – Nirvana, Queen, Fleetwood Mac, Pink Floyd, Oasis, David Bowie and Amy Whinehouse are either well past their critical peak or long since departed. These are artists who are appreciated for their sound, their legacy, and whom many fans (young and old) can collectively appreciate as not just a flash in the pan. Which would seem to support the idea of a “rebel rebel” philosophy.

On the other hand, cynicism might lead one to suspect it’s because Vinyl is only released in such large quantities through albums that can be assuredly guaranteed sales, with Nirvana’s ‘Smells Like Teen Spirit’ at my local Tesco for a tenner and Michael Jackson’s ‘Bad’ not far behind it. Vinyl is, by a large margin, an expensive format – so selling classic albums for cheaper is bound to encourage those looking to build their collection for an affordable additional purchase.

But Vinyl’s strength is not just limited to a private collector and his secret stash.

I attended a Vinyl night in 2017 that has gone from strength to strength ever since in Newcastle, England. Hosted at the Tyneside Cinema, Drayton’s Record Player invites fans to enter a darkened room and listen to a Vinyl album uninterrupted (except briefly pausing to change sides, of course) – paying for the privilege. It’s an interesting concept, though not unheard of to physically pay money to do something you could do for free, simply to feel committed to take the time needed to achieve the act in the first place. Yet at this point I’m willing to admit Vinyl is nothing if not surprising, revisiting 2018’s highest selling albums in the UK on the format, with The Greatest Showman’s Cast Recording easily the youngest and second placed record on the list. Doubtful that I am Drayton would play it.

Of course, streaming services have yet to eradicate the reflex nature, or whatever phenomenon it is that prevents Now That’s What I Call Music records from dominating sales across the country. Volumes 99, 100 and 101 make up a large part of the biggest albums sold in the UK in 2018 and other entries (like the Greatest Showman) are Cast Recordings from musicals and motion pictures that have dominated cinema attendance. 

Nostalgia serves a huge part in our consumer habits, as does affordability and ease of access, so there are many reasons to see why these albums prevent such an attractive purchase. Whatever people’s reasons for purchasing them, it’s unlikely that our obsession with Vinyl is likely to go away, especially as CD now ironically becomes the obsolete format.

Now where did I put that Mini Disc…

The End of HMV, Part 2

‘Despite the well publicised state of the UK retail environment, HMV remains profitable, demonstrating the success of the turnaround programme instituted five years ago,’ said Paul McGowan, executive chairman of HMV owner Hilco Capital (September 2018). 

As Nipper may be silenced from barking permanently, I felt that it would be a good idea to write down some thoughts on the closure of HMV, considering that it so forcefully impacts the world in which I reside. You probably didn’t know that the name of the dog in the HMV logo was Nipper. If truth be told I only found this out when I actually worked for the company. But I want to make clear that I’m not writing this article as some insider or some higher authority, since I spent a few months working for HMV in Edinburgh and a few weeks over one Christmas working for HMV in Newcastle, and that pales in comparison to the hard working people I met during that time who’d spent years – if not decades – working for the company.

In Newcastle, for example, I met a man named Keith. I always loved the phrase that he used when he said he wore the HMV shirt to work like a footballer strolled onto the pitch in his kit. There was a certain sense of passion I always encountered in HMV that was sorely lacking from other establishments. I first started visiting HMV Newcastle regularly in 2012 and the genuine knowledge of the staff stood out from a typical high street chain. I mean, granted, I’m not sure I’d ever strike up a conversation with someone about my Whopper in Burger King but I do think that stores like Game have never really employed staff with the kind of passion for their market I’d of expected.

In 2013 I watched on as, having already worked for HMV in Edinburgh during 2008, it looked as if HMV was closing down. Several stores paid staff redundancy, they cashed out their pensions and walked away, yet after two weeks they were getting phone calls asking them to come back. It’s funny now because I suppose in that situation you’d have to see anything as temporary. But as the years began to pass once more you couldn’t help but get comfortable. Yes, it was a new contract, but this was the job you’d held all those years previous. And lightning couldn’t strike twice, could it?

Vinyl is a great passion of mine, but there’s no doubting it’s expensive, with the average record costing anywhere from 20 to 30 pounds. Tesco sell Vinyl, and so do Sainsbury’s, but the selection in HMV is unrivaled. And unlike cassette – or even CD – it’s relatively difficult to just walk out the door with Vinyl records under your coat. I’m not saying they’re theft proof, I’m sure some have tried, but it would be a lot more challenging than your average Blu Ray. When HMV announced the administrators in 2013 several thousand flocked to stores in the space of days, purchasing goods that were discounted up to 80%, sales which ironically held a part in saving the company. But this time you have to imagine that HMV simply doesn’t own their stock, that so much of it is held on credit, agreements made that ensure closing the store would result in that stock being handed back to its legal owners.

I remember when HMV sold iPhone in 2009 and people were quick to blame expansion like this as the reason for its downfall. The “rebranding” in 2013 promised that they’d be reevaluating their position in the market. I know that in 2015 they were reporting financial profits and their Vinyl sales had an exceptional profit margin. You didn’t have to be a staff member to know this, an article dated from September 2018 explains that HMV had outsold Britain’s four biggest supermarkets combined, and was experiencing a 27% surge in sales. The same article also quotes HMV’s profits before tax at 8 million in 2017 compared to 10.7 in 2016.

https://www.thisismoney.co.uk/money/markets/article-6222335/Now-thats-record-HMV-sells-Britains-vinyl-CDs.html

Reading this article you wouldn’t imagine it was only a few weeks ago. So what happens in just a few weeks that threaten the jobs of 2,200+ people and countless other distributors and marketing chains? If we do live in a world where Amazon is being told by the consumer that, while it has its place, they prefer the physical touch – why has HMV struggled to get through another Christmas?

The largest part of my belief is that credit can only be extended for so long, and that although certain elements have performed well, the sales of DVD and Blu Ray have massively fallen. When I visited my local store last night I considered purchasing Rick and Morty Season 3 (Pickle Rick!) but sadly reminded myself that I would be spending 20 pound for something already available as part of my Netflix package. There’s even an argument to be had that downloading illegal files is more time consuming then just powering up Netflix, Prime, Hulu or whatever you fancy and scrolling for something to watch.

On the same token, Spotify can be told what to play by Alexa, so why do we need to purchase a CD with limited capacity for playback or – god forbid – fill an MP3 player. Why spend money on an iTunes account when their streaming services will simply play you an unlimited amount of music, whatever your mood or your feelings, and you can toss away that music just as soon as you’ve found it. I could write another article on that alone. But the point is that it does impact the way we spend our money. A friend of mine has a car that he uses his CD player in, and if it wasn’t for this device and the fact he too used to work in a retail store, he tells me confidentially he’d never buy another album that wasn’t on Vinyl.

When it comes to the rows of Funko Pop vinyl and T Shirts, HMV is leading the charge, but the reality of what people will buy is far different. Regardless, I’m hoping my colleagues are able to begin this year with a sprinkle of hope and that even if the worst doesn’t happens they find themselves back on their feet as soon as possible.

Top 10 Quick Tips for Voting

Top 10 Quick Tips for Voting – Sunderland One
Wayne Madden

Prime Minister Teresa May’s decision to call a snap General Election in April 2017 wasn’t entirely unusual, in fact, the last snap election occurred in 1974 and saw no less than two general elections in just six months. But as the law has changed since then, the Prime Minister’s recent action couldn’t have succeeded without parliamentary support, the following day’s resolution of 522 MPs to 13 in favor of the election meant a majority decision had been made.

Hot on the heels of General Election 2015, and a difficult “second album” in the form of EU Referendum 2016, 2017 will be the second major elections (after May’s local elections) held post Brexit in the United Kingdom.

For Sunderland, many will be looking at January’s result in the Sandhill by-election, when Liberal Democrat Stephen O Brien was elected to office with a swing majority that took the “safe” Labour seat as a potential sign of change to come. That Labour seat being vacated due to its incumbents’ failure to attend council meetings.

For many people voting in Sunderland this may be their first election in the region, general or otherwise, as each year we welcome newly eligible voters to the electoral roll, as well as those who’ve not exercised the right before and those thousands of students who join us from around the country for their University experience.

It is a common misconception that by virtue of your decision to live in the region, enroll at Sunderland University or the fact that you have grown up here that you are eligible to vote at all. Eligibility to vote in a general election is confirmed through the Electoral Register. You can register for free, and even register online, though there will be a deadline before the Election and criteria which you’ll have to meet.

To help you make an impartial, informed and correct decision, we’ve put together a list of the Top 10 Quick Tips for Voting ahead of General Election 2017:

1. Before the big day itself, make sure you’re actually eligible to vote. You must be registered to vote, be over 18 on the day of the election (“polling day”), and be a British, Commonwealth or Irish citizen. You must also be resident at an address in the UK (or be a British citizen living abroad who has been registered to vote in the last 15 years). You cannot vote in a general election if you do not meet these criteria, even if you are able to vote in a local election or referendum.

2. You cannot vote at just any polling station, and will be assigned a polling station based on the “district” in which you live. Information will be provided through the Polling Card you receive in the mail in the weeks prior to the election. Keep this safe for reference. If you do not get one, contact Sunderland Council’s Electoral Services to ask why.

3. You cannot vote more than once in a single General Election. Doing so is a criminal offence. If you discover you are eligible to vote at a University residence, for example, as well as your home address; you should only vote from one of these places. You should also ensure you do not ask anyone to vote on your behalf or assume your identity to vote at an alternative location, even with good reason, as this is also illegal.

4. Anyone else in your place of residence will be voting at the same station as you – if you’re going to be away from home on June eighth then making sure you register for a postal vote is essential as this means you will receive a ballot paper a few days before the election that you can send from any postbox in the United Kingdom.

You can also drop your sealed postal vote envelope and completed ballot into any Polling Station within your Council’s remit on polling day. So, for example, if you live in South Shields (South Tyneside) you cannot drop your postal vote into a polling station at St Peter’s (Sunderland City).

5. Under certain conditions, you may be called upon to act as a proxy for another voter, or ask someone to vote for you as your proxy. You will have to register in advance to do this with your local Council and your request will not always be granted.

6. The Polling Station is open between 7am and 10pm. This is a legal requirement of the vote and gives people as much potential as possible to reach their station on polling day and cast their vote. You must ensure you have entered a polling station and received your ballot paper before the clock strikes 10pm.

7. Regardless of temptation, do not take a “voter selfie” while casting your vote, as this is both an obstruction to fellow voters and also illegal. In fact, this practice can cause expulsion from the polling station and a criminal report, so avoid the opportunity to post your favorite voting face to social media or send privately to friends.

8. Remember the Polling Card? Don’t worry if you’ve forgotten, even at the polling station, as it is not needed to vote. You’ll be asked to give your name and address to confirm your identity and then issued with a ballot paper. In the event that someone else has voted in your place (known as voter fraud) you’ll be asked a list of prescribed questions and at the discretion of the Presiding Officer will be issued a ballot. Hopefully, this will never happen.

9. Dressing up as Donald Trump or wearing a T Shirt condemning the sitting Government might seem like the right behavior that morning, but such political material is banned from the polling station (albeit it International or not), this going for more obvious things like literature distributed by candidates, Rosetta’s and obvious political color coordination which may all be interpreted as signs to sway fellow voters in their decisions. Likewise you can only cast a vote for a candidate running in your constituency and your approval for another member of a party running will not be counted as a vote.

10. Having successfully followed instruction and cast your vote carefully fold your ballot paper and place it in the ballot box as instructed by station staff. You do not need to show your completed ballot paper to station staff and they will not always high five you once this has happened, but you can definitely feel a sense of pride as you leave the station having cast your electoral voice.

Whomever you choose to vote for and however you wish to cast your electoral voice this General Election, prepare to exercise your right with information and impartiality. For everything positive and impartial about Sunderland, make sure you’re picking up Sunderland One.

Revolving World of Colour

Revolving World of Colour
Wayne Madden

Even though Colour Television was a staple of the American diet from 1958, the

UK had to wait until John Newcombe won the Men’s singles at Wimbledon nearly a decade later, before the first colour images were projected onto European TV screens.

John Logie Baird, the inventor of television, first demonstrated colour television in 1927 but despite its popularity, high prices and the resulting scarcity of colour programmes, the format was not as widely used in its initial outing. As time moved on, however, cheaper alternatives and formats were created in order to make the expansion of colour film a reality for all mediums and budgets.

Barry Sandrew, PHD, an internationally recognized entrepreneur, digital imaging expert and visual effects pioneer invented digital colourization in 1987. “I invented digital colorization in 1987 at my company, American Film Technologies, as an alternative to the very poor quality that was being delivered using the initial analogue process.”

But new technology is not necessarily always greeted with Universal acclaim. Back in the mid-80s, there was a well-known and controversial campaign to colourise classic movies which led to heated public debate. Ted Turner (the media mogul and founder of CNN) spearheaded a movement in which he believed classic films, among them Orson Welles “Citizen Kane” and Frank Capra’s “It’s A Wonderful Life”, should be colourised for the benefit of future generations. He believed that classics such as these were being ignored by viewers in favour of colour film.

This is an argument that goes back to Thomas Edison, in the late 20th century, who colourised film by hand as he perceived that audiences would not enjoy his own black and white work. It’s a popular misconception; therefore, that colour film was a more modern cinema trait. Victor Fleming’s 1939 musical fantasy “The Wizard of Oz” is one of the most well-known pieces of the time to have been shot purposely in colour (using two tone Technicolor), although the basic technology had existed for almost 40 years beforehand, with the earliest examples going back to 1902.

Technology aside however, there were also plenty of examples where black and white films were colourised in pre-production. Howard Hughes and Alfred Hitchcock created films in black and white, only to remake them in colour, citing both artistic and financial reasons.

Kevin Shaw is a colourist, with over 30 years’ experience in the industry. He believes there is some truth in the notion of a stigma towards black and white on film. “There is a feeling that black and white is “missing” colour rather than being seen as an alternative medium,” says Shaw, “and I believe this inclination persists today.”

Sandrew argues the very objections to colourization is what made it popular. “The fact that colourization was a “hot button” issue actually helped AFT become more popular with both clients and fans of colourization,” says Sandrew. “If people didn’t like colourization they didn’t have to buy nor watch it. Guess what…they did both!” Before Turner, there had already been a counter argument that colour film was damaging to cinema. French director Francois Truffaut argued that colour should not be used at all, making a statement in 1978 that “colour has done as much damage to cinema as television.

It is necessary to fight against too much realism in the cinema; otherwise it’s not an art. From the moment that a film is in colour, it’s not cinema anymore.” Shaw agrees somewhat with Truffant’s statement. “A director has to have a good, artistic reason to use black and white, and that doing so invokes a particular meaning to the project, it is a genre in its own right so not appropriate for all concepts.” Certainly there are examples of this. Alfred Hitchcock shot “Psycho” purposely in black and white to meet what he felt was the required tone for the film, as did CBS Productions with Rod Sterling’s original “Twilight Zone” television series. In both cases colour was offered and refused as a medium.

In the 21st century, it’s perhaps hard to imagine a time when directors had such creative control over their own productions, especially productions with such important financial outcomes for their respective studios. Barry Sandrew agrees that films such as these are classics, which he says have been helped significantly by colourization. “The directors and actors were paid for their work,” says Sandrew, “that does not give them perpetual creative rights to the film. They do not own the film nor did they, in most cases, put up a dime to make the film. Colourization has actually served to subsidize the restoration and preservation of some of our most treasured public domain black and white feature films. In that regard, I believe that colourization has actually done a great service to these classics.”

Professor James O. Young, of the University of Victoria, wrote an academic paper entitled In Defence of Colourization in 1988 that stated once a work is modified it is no longer able to express its creators original intentions. His paper was written at a time when the first Turner produced colour films came under criticism, namely because low quality colourization, restricted by the technology of the day.
But Young still believes its possible colourization can have a negative effect on a film’s artistic merit. “Appropriation from earlier art ought not to be prohibited,” he says. “Artists frequently borrow from their predecessors in a variety of ways and do so (some of the time) with good aesthetic results.”

Shaw argues that, regardless of 21st century technology, the same rules of artistic filmmaking merit apply. “We design images to fit the concept, to be emotionally evocative and to be easier for an audience to interpret.
It is a creative decision that should be made at the creation stage.” It would seem that the image (and colour choice) of a film is therefore essential to its concept. Sandrew agrees with this up-to a point. “When I re-invented colourization in 2000 the film critics were no longer saying that the work looked shoddy or unrealistic. Instead they were saying that the colourization looked so natural. This raised a new concern from critics that the quality was too high and young people would never know what the film looked like in its original black and white format. So surprisingly, high quality colourization earned negative feedback as well!”

 

Ted Turner had the ability to spearhead a movement which, he personally felt, was of benefit to his consumer and made the business steps necessary to do this. But perhaps more ironically, as Young concludes, “the use of colourisation has increased the distribution of original black and white versions, since these are now often packaged with colour versions.”
Ironically, the greatest benefits come to those who feared their legacy might be jeopardized in the first place. While there’s no doubt life looks better in colour the facts seem to indicate that audiences would rather see them as they were originally intended, sparks of geniuses intact. Colourization, like everything else in Film, has its place.