Project members and subscribers to this site will be interested in Europopmusic, an organisation whose newsletter is reproduced below.

The newsletter makes mention of the POPID conference held in Rotterdam earlier this month at which project members Jez Collins and Emilia Barna presented research papers.

Europopmusic’s originators outline their background as follows:

We are DOUBLE BASS (1969) and PAUL ROYAL (1971) and we live in the Netherlands. We’ve been buying and collecting music since the eighties. One strictly on vinyl, the other strictly on compact disc. Starting as most music lovers with radio and the anglo-saxon music, we gradually became aware of the music that could not be heard on Dutch radio but was popular in other countries.

Influencial for this was early MTV (shows like ‘120 minutes’ always had a keen eye for international underground acts), the Europarade and of course the Eurovision song contest. On our visits to other European countries we started to collect pop music that was typical for that country or region. Mind you, we wanted pop and rock, not folk. Or not esspecially because we do like the hybrid forms.

In doing so we not only moved away from the common ground of regular collectors but also from the genre shops file under ‘world music’ and collectors that focussed on the sixties (when italian and french music was popular and still is highly collectable). We realised we were operating in a niche; each time when we visited the European music fair in Utrecht, we had to weed through truckloads of Deep Purple and Pink Floyd in order to find the gems we seek.

This left us in a sort of twilight zone where we discovered artists, music scenes and genres while we went along. The language barrier and different musical traditions make it even more difficult. Talking to shopkeepers across Europe always was a source of information although they we always suprised that we were genuinly interested in THEIR pop scene and not the international one.

Altogether we assembled a record collection that is a cross section of European pop. Maybe is not one of it’s kind, although we like to think so, but gathering from reactions of other collectors it is special in it’s own way due to the fact that all items are assembled in one collection. Instead of sitting on this treasure chest of Europop we decided to build a website filled with all the info we gathered on our trips



“Hello Europopmusic fans…”

Somehow the past month revolved around the European Union and wether or not European popmusic excists. Prior to the EBBA (European Border Breaker Awards) a documentary was shown about European popmusic with the title ‘Rockin’ Europe’. The filmcrew followed a fresh Estonian EBBA winner Ewert and the Two Dragons and interviewed EBBA patron Jools Holland and journalist Emmanuel Legrand (and our humble office gave background info but were cut from the film in the end, boohoo!). Bottom line was that European popmusic has a hard time when you’re not from the UK or you’re not singing in English. The lack of media exposure for Non-English music was deemed the biggest threshold. Another problem is the licensing At the end of January the European Commission launched a stakeholder dialogue about ‘Licenses for Europe’ urging industry to deliver innovative solutions for greater access to online content. And to overcome the problem that digital music (amongst others) can not profit from the open borders. The discussion is still going online. We wish commisioner Androulla Vassiliou much wisdom.

On a more scientific level we were asked to join a panel at the Erasmus University for the international conference of Popular Music Heritage, Cultural Memory and Cultural Identity (POPID). It was an ‘exchange session which focusses on the role of DIY (Do-it-yourself) preservationism in the construction of popular music heritage”. In plain English we were present as an example of how European culture is preserved and promoted outside the usual scientific mainframe. It was an interesting session and the three day conference held more interesting lectures and dialogues. We will try and see of we can get permission from the scientists to rewrite their abstracts and publish them on the site. There were enough interesting insights.

But enough with social-cultural/political mumbo jumbo. Back to what really European popmusic is about with reviews of great new albums, interviews with interesting people and new biographies of artists you probably have never heard of before. As always: ENJOY THE MUSIC.


Music news and background articles

Portugal in 1968, music and dissidents in exile

And we continue our search for the source of European popmusic located around the year 1968. This time Portugal. Like his neighbour Franco in Spain dictator Salazar’s regime after WW2 relied heavily on promoting certain folkloristic culture. In Portugal’s case that was the three Fs namely – Football (soccer), Fatima and fado (although some say the third F stands for fascism). It tried to sketch an image to the outside world of a peaceful country. Meanwile anyone who dared to speak up was thrown in prison or fled into exile. And so Portugues protest culture largely was made outside Portugal. The minor political change in 1968 eventually did not come from student protests, passionate music or pamphlets. Nature itself intervened with Salazar falling on his head and ending up in a catatonic state. Read more on Portugal in 1968 and how it influenced Portuguese pop culture

Etienne Daho speaks: “the older I get, the more I am amazed”
Five years after the release of “L’Invitation” which went certified platinum album and got a Victoire de la Musique 2008, Etienne Daho is currently in the studio from London to New York to record his new album. The new album, which will be co-produced with Richard Woodcraft, mixer and engineer the album “The Last Shadow Puppets” and Jean-Louis Pierot, producer albums including “Fantaisie Militaire” Alain Bashung and “lie Supplements “Hubert-Félix Thiéfaine, So Stephane Hauser picked up the phone and called singer in London for Le Catalog. Go to the interview

Francesco Bianconi (Baustelle) speaks: I began to live in a more relaxed relationship with my origins


A recurring theme in the discography of Baustelle  is that the experience of the province as living in a ‘cage’. Growing up in the Tuscan town of Montepulciano in the late seventies and eighties they wanted nothing more then escape. Not anymore: the new album ‘Fantasma’ marked the return of Francesco Bianconi, Rachel Bastreghi and Claudio Brasini to this native town of Siena. “Fantasma is a very hardcore Tuscany” says the singer and lyricist. He talks about the new album ‘Fantasma’ which evokes memories to the work of Charles Dickens, Dario Argento, Edgar Allen Poe and the end of time. ” Death as a central theme: “Perhaps we in the West see death more important than what he really is: if you believe in the afterlife, death is only a passage, and if you do not believe that just see it as a change in biological state. So do not fear it. Perhaps we should learn from the cultures of other parts of the world where death is considered something less traumatic.” Go to the interview

Controversial Bulgarian Chalga Company Gets Major EU Funding

Sofia’s press agency Novinite comes with news that Bulgarian record producer Payner, which is known as the largest label for the so called popfolk or chalga music, has secured major funding under EU Operational Program Competitiveness, according to a report. Payner’s EU funds boost, whose payments are yet to made, was reported Tuesday by the Bulgarian daily Presa (“Press”). Payner is largely controversial precisely because of the nature of the so called chalga music – a notorious style that emerged in Bulgaria in the 1990s with oriental motifs focusing on money and sexual allusions. Payner’s total approved funding will be BGN 3.197 M, including a grant of almost BGN 2 M from the EU. Read more


Tre allegri ragazzi morti:
Nel giardino dei fantasmi
Mor ve Ötesi:
Güneşi Beklerken
Hande Yener:
Gianna Nannini:
Wie wir leben wollen
Dobrodošao u klub
Manolis Aggelakis:
O anthropos vomva
Europopmusic artists (added to the encyclopedia)

Marianne Mendt (Austria)

If it wasn’t for her singing the first ever Austrian pophit her fame would probably be much less. Not that Marianne has a bad voice, her first two albums are really worth seeking out. Her musical output has been somewhat arredicate. From pop, to beat, to jazz, to schlager, to musical. Actually you could say Mendt is more an actress then a singer although her jazz festival is quite popular and she always makes an appearance there. Still, for some original light Austrian pop you cannot go around Mendt.Go to artist page

Heróis do Mar (Portugal)

It’s hard to believe for fans of Madredeus but the frontman in that band actually has a rock-past in one of Portugal’s groundbreaking new wave bands. Pedro Ayres and his friends sounded much rawer and punky in those days. For Portuguese their 1981 debut is the pinnacle of social youth culture at the start of the Eighties. An album filled with anger and teenage energy. To my opinion they gradually perfected and shaped their sound on the 1986 ‘Macau’. No longer punk but poprock. From there each member went their seperate path leaving the legend-making to Portugese pop history.Go to artist page

The europopmusicnewsletter is published by DOUBLE BASS & PAUL ROYAL, the Netherlands
as part of the website WWW.EUROPOPMUSIC.EU. Contact us via e-mail:

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Music and Interactive Media – Examples from Groningen/Eurosonic Noorderslag

One of the reasons why the meeting at Groningen proved important in terms of the overall purposes of the project is that here, the relationship between music and new/interactive media gained more emphasis than during our previous Leonardo meetings. This is in part thanks our hosts Ard Boer and Eva van Netten and New Music Labs – a very exciting, dynamic enterprise developing interactive digital solutions for a variety of music projects, located in a pleasant office on Brugstraat whose interior attests to creativity and subcultural credibility (see photos). (As an aside: walking in Groningen, I was struck by the multiplicity of small galleries, busy workshops, (sub)cultural venues and stores, indicative of the amount of creative activity in the city.)

Eurosonic Noorderslag (as is mentioned in Ann Branch’s talk) also devoted a lot of time and space to the digital shift, framing it more in terms of opportunities and creative solutions than challenges. We heard presentations about the new, and already hugely popular French on-demand music streaming service, Deezer (also available in Hungary, as opposed to, for instance, Spotify, along with 160 countries worldwide – but not yet in the US). Another exciting service that I had not heard about previously is 22tracks – which is also streaming site, but based on selected DJs curating 22 songs according to 22 different genres, in different locations, such as London, Paris, Amsterdam and Brussels. The idea is that individual curation can act as a guide amongst the vast amount of music online. Furthermore, the individual tastes of the DJs are also supposed to represent the given city, the local character, as well as a particular genre.

Ard also introduced his own app, Giglocker:

[wpvideo JXJankXe]


However, the main excitement was the Interactive Awards panel and ceremony the next day, where Ard won the Artist award with his fabulous augmented reality app for the band BLØF.

Here is Ard explaining augmented reality during the interrogation phase:

[wpvideo MDF9D3Mo]

And demonstrating how it works:

[wpvideo QTQc5XDG]

Congratulations, Ard!

The Company award was won by the equally fascinating Vyclone – a social video platform that enables members of an audience (or any people gathered within the same space) to upload their iPhone/iPad video footage, which material will then be edited together automatically and the end result published on the website. The platform is based on the idea of Joe Sumner (you can read about it here), and has already been used by such artists as Madonna, Ed Sheeran, Mumford and Sons and Alice Cooper. It appears to be a wonderful way of conjoining fans and artists within the creative process, illustrating the overall trend of consumers becoming active producers through via interactive online media. It also makes use of a vast amount of fan material that exists out there anyway, and would otherwise remain marginal. Lastly, there are great possibilities in applying the editing algorithm within a variety of fields. 

The online platform of Eurosonic Noorderslag itself provided a good example of interacivity, with the possibility of personalising the programme. Also, our wristbands containted a chip that was scanned during the evening gigs when we entered and left a venue. Based on this information, the following morning we received a personalised email notification containing the list of gigs we had attended, which was indeed really handy (the idea is thus similar to Giglocker). Moreover, you were also able to scan your wristband at panels in order to get additional materials emailed to you (slides, links), where it was available.


Ann Branch explains Creative Europe at Eurosonic Noorderslag Conference

Our visit to Groningen was interesting and informative in so many different aspects that rather than providing a single summarising account, I am opting for creating a number of posts that deal with different themes. Also, many important themes are covered in Matt Grimes’ account, so I will not repeat those points.

At the Eurosonic Noorderslag conference, I listened to Ann Branch (Head of Unit, Culture Programme and Actions, European Commission) explain the importance of the EU’s new Culture Programme for the music industries (EU Funding for the Cultural and Creative Sectors, 10 January 2013 15:00). The second half of the panel consisted of Sylvain Pasqua (Policy Officer, Culture Programme and Actions, European Commission) talking about how EU Cohesion Policy Fundscan be used for strategic cultural investment.

My summary of Ann Branch’s talk is attached – and here you find some related links:

Creative Europe

Ann Branch explaining Creative Europe

European Music Council

EMC Statement on the EU Commission’s Creative Europe programme proposal

European Music Office

Report commissioned by EMO and Eurosonic Noorderslag (Music Crossing Borders. Monitoring the cross-border circulation of European repertoire within the European Union)

European Audiovisual Observatory

European Talent Exchange Program (ETEP)


International Association of Music Information Centres


Ambrus Deák / imPro School Interview

On 20 November 2012 I spoke to Ambrus Deák (AMB), Ableton Certified Trainer, Head Teacher at imPro, the Budapest School of Music Technology. Deák founded imPro School after spending four years in London and completing a Music Technology Specialist degree at Thames Valley University. The School currently offers three types of degrees: Ableton Basic, Ableton Pro and Music Producer. Deák teaches the following modules: Sound, Mixing and Mastering; Final Project; MIDI & Synthesis; Sampling; and Music Industry. He talked to me about the programme, the staff and the students, the process of developing the School’s policies and methodology, about overcoming difficulties, and about future goals. (.pdf attached)





Campus Online interview with Balázs Bihari (Almost Famous Rock School)

Here is a translation of a recent interview by Heni Hegyi, originally published on Campus Online:

There’s a place where anyone can dig deep into pop music life and activity in the broadest sense – now within the framework of a certified training programme

Almost Famous Rock School (Majdnem Híres Rocksuli) is aiming to make all knowledge available for those interested and to train professionals, not only so that they can find employment as a band manager or press person, but so that they can be trusted with any relevant task. Although prior to AFRS there had been no such initiative in Hungary, it is important to mention PANKKK (Programme for the National Contemporary Popular Music Culture), which has existed in a ‘hibernated’ state since June 2010.

We talked to Balázs Bihari (AFRS-founder,, Hippikiller etc.) about the rock school and its plans.

What kind of training begins in January 2013 and is it still possible to apply?

The rock school trains popular music managers and this also applies to the course beginning in January 2013, this is when our next term starts. You can still apply by writing to, but apparently there are fewer and fewer entrance interview slots available.

What does such an interview look like? Is there some kind of basic knowledge that is necessary if one wants to apply?

During the interview, we attempt to ascertain why one is here, what expectations they have, and we compare this to what we offer. The age distribution is very interesting, because we get people who have just completed their secondary school-leaving exam, but also 35-year-olds, we get outsiders, event managers and everything in between. As a result, people arrive with various expectations: some want to build networks, some want to organise their already existing fragments of knowledge into a coherent system, and so forth.
What is the primary motivation behind the school?

It’s quite funny that we were the first to have accredited popular music management as a profession – it took approximately ten months for it to be included in the Ministry list. This also highlights the reason why we established the course: Hungarian pop music has existed in a twilight zone and this can still be felt in various areas. PANKKK was beginning to sort this out, and an important element of this process is education.

Somehow in Hungarian pop culture a certain continuity, which one can experience in Anglo-Saxon countries, is lacking to this day. This is still a product of the pre-regime change era: there was not much overlap between mainstream and underground, and therefore none between generations either. A consequence of this is the fact that some of those who are interested may be familiar with some elements, but few people have a comprehensive knowledge, few people are able to properly place events, people, references into context. For this reason, we examine pop history primarily from a music industry perspective, we prioritise cause-and-effect relations, as opposed to whether David Bowie released his latest single on the 23rd or the 24th of October 1972. We are at the very beginning of a very long process, even if we have managed to cause a stir in young people involved in pop culture: Almost Famous, imPro [School], university courses, Music Networks [Association] all cover a different area of pop, but work towards the same goal – that is, the acceptance and inclusion of pop as a part of general culture. This is why we originally set out and this is our expectation today.

Isn’t the problem that there are good professionals, but on the part of the audience the desire to find out about things and make use of this opportunity is lacking?

The audience is not aware of how small and inbred the Hungarian pop world is – but this is okay. You can only think long term, because the people we train will mature in five to ten years’ time. The same with a change in the general outlook – it is a slow process, but you need to recognise that moment where you can take a spectacular step. At the moment we are working on a coursebook, the building blocks and chapters of which could constitute modules that other institutions would also be able to use. We are already doing this in practice, since we act as guest lecturers on other courses and vice versa.

I have read in an interview that during the first term, the material you learn is less specific, then during the second term, in-depth knowledge is introduced, for instance, you are introduced to law etc. Does this mean if someone only wants to get a taste, it is worth planning for one term only?

Yes, we are constantly pondering this, since it is a learning curve for us as well and we change emphasis, we actualise. I would rather say: perhaps it is worth attending our course for one term , but it’s silly, because the classes during the second term are always surprising and exciting, even for us. For example, a producer sometimes arrives at the class with the exact opposite conclusion to the previous year. There are very few students who do not finish, and in those cases this happens mostly due to financial or family reasons, and it is very good to see when all these different people form a cohesive community, who get together even years later, and work together because they had met each other here.

Does this mean the course is at least as much about self-management as professional practical and theoretical knowledge?

Naturally, since you need to be able to manage yourself first, before you can move others around – although then you could cite the counter-example of the best pedagogues, who have the worst-behaving kids (laughs).

Yes, of course, nevertheless, most schools do not place too much of an emphasis on the acquisition of this philosophy.

It actually becomes evident pretty quickly who will be the ones who charge forward like a bulldog, and who are the ones from whom this skill needs to be extracted. Besides the compulsory professional practice, there is also compulsory project work, the topics of which are decided upon by the students or us. The realisation of these projects reveals a lot, amongst other things, about the situation regarding self-management, and what could be done. Beyond a certain number, the students start behaving as a class, and they become more of a passive receptive community, and neither us nor them need that, we need to pay individual attention to everyone in order to bring out the best.

Inviting people experienced in various professions is important in your training programme. Besides regular classes, what other types of events do you have in an average academic year?

We go somewhere practically every week: we visit exhibitions, performances, events involving students. We have Bike and Roll, and of besides all this, places providing internship and their events.

Where does the idea of Bike and Roll come from? Did you have a model for it or is this something entirely new?

I don’t know, I’ve always been a bicycle guy. In the year when Bánkitó [music] Festival started, I went to Bánk with my friend Kata Piroch to explore the site, and the idea somehow arose in the car – and we realised it a month later. This is also a form of education, even if slightly different: a pop cultural sightseeing tour around Budapest – which we have so far managed to always organise differently, because there is such a great pool of both places and topics. Most recently, we took Irish, Dutch [?], and British managers and academics on an English language tour as part of Hangfoglalás [conference and festival]. There were 27 of them, and close to the finish line, on the way back from the Rodolf Hervé exhibition, near Astoria, we lost Andrew Dubber. He cycled straight onwards while we turned left towards the Synagogue, back to Budapest Bike – and his mobile had been turned off. But luckily he reappeared after sixty minutes (laughs).

What is the most interesting thing so far in the history of the school?

I really cannot highlight anything, I would rather say that since it is so dynamic, every single occasion, every single preparation is the most interesting at the time. It couldn’t be better than this.

* * *

And here is a recent promo video, featuring footage from our own Budapest Bike’n’Roll ride, as well as the previous one, which I described in a previous post:

Made in Birmingham Online

I’m very pleased to announce that the ‘Made in Birmingham’ is now online and can be seen in full.

This film was made in 2010 under the auspices of the Birmingham Popular Music Archive (curated by Jez Collins) and produced by Roger Shannon and directed by Deborah Aston.

Made in Birmingham: Reggae Punk Bhangra tells the story and development of these three genres in Birmingham from the mid 70s to the mid 90s through the use of rare archive footage and interviews from those who were actually there.

Footage from bands like the Killjoys (pre Dexys), UB40, Steel Pulse, Musical Youth, Beshara, Swami, Apna Sangeeta, Au Pairs, Prefects, Fuzzbox and The Nightingales and others are interspersed with interviews with UB40’s Brian Travers, Paul Foad and Pete Hammond from the Au Pairs, Musical Youth’s Dennis Seaton, Steel Pulse’s Amlak Tafari and many others who highlight the social and political issues of the day and how the music of that time reflected the diverse communities of Birmingham.

This is a great insight into Birmingham and some of its rich musical heritage.

International Festival Black Sea Cultural Heritage: Common borders, common solutions


The city of Dobrich was host to the International festival Black Sea Cultural Heritage: Common borders, common solutions, which happened in the period September 26, 2012 – September 30, 2012. Within the evening concerts the guests were able to enjoy musical performances from several Black Sea countries – Bulgaria, Georgia, Armenia, Romania and Turkey. Among the most interesting performances were a representation of a traditional Turkish wedding, a modern ballet from Georgia and of course the folklore dances and songs from all of the five countries.

The first night of the festival was dedicated to an international mix of performances, among which there was a Romanian youngster, dancing to the sounds of Michael Jackson, a professional musical band from Georgia and young rock stars from Bulgaria.

The second evening was totally dedicated to the hip hop. Local kids made a fantastic show, which included ballet, break dance and modern singing.

The third night was the most diverse – it included folklore songs and dances from the five countries, modern songs, and even a gypsy band which performed both dancing and singing.

The festival was met with great interest from the local crowd and the guests of the city. Both the audience and the performers expressed that they were highly delighted with the show.

Song Analysis and Writing – Szeged, Hungary

The first Song Analysis and Writing course, entitled ‘From Please Please Me to Paparazzi, was held in Szeged, Hungary in February – March 2011. The twelve-hour course was spread across six weeks and was held during afternoon sessions at the Grand Café cinema and arts centre in Szeged. There was no funding body – Grand Café provided the venue and students paid a small fee to participate. The course was promoted through posters placed at venues and the university, word-of-mouth, and Facebook.


About the course:

The initial questions to which the course sought answers were the following:

 (1)   Why does 90% of the music industries output fail to produce any financial return on its investments?

 (2)   From the start to the end of a three-year recording/publishing contract, do most songwriters show a definite improvement in their craft? If not, why not?

 (3)   Does the lack of a specific language when talking about a musical object hinder creativity, its development and commercial outcomes? Business intermediaries tend to talk about the ‘vibe,’ ‘feel,’‘I don’t get it’ or ‘the chorus isn’t strong enough,’ and are seldom more specific.

 (4)   Why has Hungary not produced an internationally successful popular music act in the past 20 years?

 The objective of the class was to teach participants to rapidly evaluate a song, articulate the general architecture and its organising principles, and to identify recurring musical patterns that exist in songs that have achieved significant success over time. Terminology was employed for describing the different aspects of a song. The songs analysed were used as a model to start the creative process. Without waiting for inspiration to activate creativity, the process aided participants to write competent, coherent songs in various styles.

Participants of the course were encourage to present their own work, which was then collectively evaluated, with, if necessary, suggestions on further improvement based on the results gained from the analysis.

The sessions were aided by an online platform – a Facebook group page – where homework tasks, material, and all necessary information were posted.  

Sessions, while officially two hours, always resulted in most participants staying on informally at the venue until late in the evening, further discussing questions that arose during classes.

About the course leader:

The course was led by Steve Swindelli, a songwriter and producer with substantial music industry experience as a recording artist, who acquired an MA from the University of Liverpool School of Music, and subsequently taught songwriting modules at the same university as a PhD student in Popular Music Studies. He is currently working in LA with the Head of Production at Rondor Music publishers, as well as co-writing and producing the debut album of Hungarian artist AK (András Petruska).

Swindelli will continue to teach songwriting and song analysis in Hungary in October-November 2012 as part of the new University of Music (Zenélő Egyetem – ZEN) programme of the University of Pécs. (A report on the experience gained from this course will also be prepared for the IMMHIVE blog.)

About the city and the venue:

Szeged is a city in the South of Hungary with a population of cca. 170,000. It is home to the 12-faculty University of Szeged (the number of students is approximately 30,000, the number of teaching staff 2,149), which means the city and the university exist in a close economic symbiosis, and the university determines much of the city’s social and cultural life. Grand Café is a community-oriented arts cinema and café, which regularly hosts a variety of cultural events including lectures, poetry readings, exclusive screenings, concerts, and themed parties – it is at the centre of Szeged’s cultural, intellectual and social life. Through its management, it is also linked to a music venue called Jazz Kocsma (‘Jazz pub’), and the recently opened summer outdoors café and music venue outside Szeged Castle by the River Tisza.

Mapping Cultures

Pleased to announce the publication of this book which contains a chapter that I wrote with Jez Collins of the Birmingham Music Archive.


Place, Practice Performance

Edited by Les Roberts, University of Liverpool

 ‘This collection gives a widely spread voice to the widening acknowledgement of what maps mean and do; how and where they occur. Comprising a series of related but distinctive, lively, well worked and critically engaging chapters, the book will find readers across a range of disciplines and subjects.’ David Crouch, University of Derby, UK
1. Mapping Cultures – a Spatial Anthropology, Les Roberts
2. Critical Literary Cartography: Text, Maps and a Coleridge Notebook, David Cooper
3. Mapping Rohmer: Cinematic Cartography in Post-war Paris, Richard Misek
4. Cinematic Cartography: Projecting Place Through Film, Les Roberts
5. Walking, Witnessing, Mapping: An Interview with Iain Sinclair, David Cooper and Les Roberts
6. Maps, Memories and Manchester: the Cartographic Imagination of the Hidden Networks of the Hydraulic City, Martin Dodge and Chris Perkins
7. Urban Musicscapes: Mapping Music-making in Liverpool, Sara Cohen
8. Mapping the Soundscapes of Popular Music Heritage, Paul Long and Jez Collins
9. Walking Through Time: Use of Locative Media to Explore Historical Maps, Chris Speed
10. Salford 7/ District Six. The Use of Participatory Mapping and Material Artefacts in Cultural Memory Projects, Lawrence Cassidy
11. ‘Spatial Stories’: Maps and the Marketing of the Urban Experience, Gary Warnaby
12. Mapping My Way: Map-making and Analysis in Participant Observation, Hazel Andrews
13. Mental Maps and Spatial Perceptions: The Fragmentation of Israel-Palestine, Efrat Ben Ze’ev
14. Peripatetic Box and Personal Mapping: From Studio to Classroom to City, Simonetta Moro
15. The Anthropology of Cartography, Denis Wood

Les Roberts is a Research Associate at the University of Liverpool. He is author of Film, Mobility and Urban Space (2012) and co-editor ofLiminal Landscapes (2012).

Evonne and Jonathan of Contemporary Music Centre Ireland (CMC) outline their work

Back in June, Jez Collins and I took a quick trip from Birmingham to Dublin in order to connect with the Contemporary Music Centre Ireland.

In this first video we took (apologies for ambient noise and the homeless man hovering out of frame), Evonne Ferguson and Jonathan Grimes introduce themselves and outline something of their work at CMC.

681659-CMC1a from BCMCR on Vimeo.

This second video explores the music heritage site right on the doorstep of the CMC building.

681652-CMC2 from BCMCR on Vimeo.