England’s potential COVID-19 certificate scheme would require customers to show proof of vaccination, a negative COVID-19 test or immunity status to gain entry into shops, pubs and theaters.
April 12, 2021 · 4:00 PM EDT By Orla Barry
Harry Secombe got my vote last week to be the representative act of the 1950s at Blackpool’s Palace Theatre.
Harry (1921-2001) fits the bill because his Palace appearances spanned ten years; three visits on variety bills, 1950-52, and a summer season in 1960, a year before the big Promenade venue closed.
For 50 years the Palace brought more stars to Blackpool than any other; eight acts per week, two shows nightly, changing weekly.
As the Fifties dawned a new generation of artists appeared on Palace bills. Several had emerged as entertainers in the armed forces including Max Bygraves, Dick Emery, Tony Hancock, Peter Sellers – and Harry Secombe. Continue reading
Open letter to BBC asks for confirmation of the broadcaster’s commitment to folk music.
Following the cancellation of various folk music radio shows across the BBC in England, CEO of English Folk Expo, Tom Besford, has written an open letter, asking for clarity on the media organisation’s commitment to folk music.
Addressed to James Purnell, BBC’s Director of Radio and Education, the letter calls for the BBC’s support of folk, roots and acoustic music through music programming. During the pandemic, various folk music shows have been cancelled, including BBC Radio Sheffield’s New Traditions with Greg Russell, BBC Radio Shropshire’s Genevieve Tudor’s Sunday Folk, Johnny Coppin on BBC Radio Gloucestershire, BBC Radio Cambridgeshire’s The Folk Show, Kent Folk on BBC Radio Kent, BBC Radio Lincolnshire’s Thursday Night Folk, and The Durbervilles on BBC Radio Leeds, among others.
Additionally, The Folk Show with Mark Radcliffe on BBC Radio 2, England’s main folk music show on the BBC, was changed from 7pm to 9pm before the pandemic, and since then it has been temporarily changed to a now pre-recorded show airing at 11pm.
The letter from Besford reads:
Folk music relies on the support of the subsidised BBC. Musicians need the air play not just for profile, not just to keep audiences engaged with specialist music, but for the financial return from music licensing. Many also fear that once we come through this crisis back towards normality, there is a risk that much of this valued and loved content may never return.
English Folk Expo calls on the BBC to play their part in supporting specialist music, reinstate the axed shows, return the main national show to a more prominent time slot and make announcements on the annual Folk Awards (or equivalent replacement). It is during a crisis such as this that the licence fee payers expect the BBC to provide cultural leadership, not remove support from an industry already brought to its knees.
To read the full letter, visit https://www.englishfolkexpo.com/folk-on-the-bbc-an-open-letter/
Read more about British Folk Music on THE HOBBLEDEHOY
The singer was best known for performing hits such as We’ll Meet Again to troops on the front line in countries including India and Egypt.
Her family said they were “deeply saddened to announce the passing of one of Britain’s best-loved entertainers”.
In a statement, they confirmed she died on Thursday morning surrounded by her close relatives.
“Greetings, virus people!”
The on-air patter was hardly what you would expect from a radio D.J. addressing his listeners during a pandemic last week. But Ken Freedman, the station manager and program director at Jersey City’s WFMU 91.1 and 91.9 FM — broadcasting to the greater New York City area, “Your station from the epicenter!” — sounded practically chipper.
Like the rest of the country’s noncommercial, community radio programmers, Freedman has been forced into hastily improvising a response to the growing spread of Covid-19. Staffed largely by volunteer D.J.s taking time away from paying jobs as teachers, bartenders and everything in between, these scrappy local stations have had little in the way of either precedent or outside resources to fall back on. Operating independently of both National Public Radio’s networked affiliates, as well as the rigidly formatted music stations owned by corporate chains like iHeartMedia, they’ve been left to figure out the changed media landscape for themselves. Some have adopted a “keep calm and carry on” philosophy. Others have taken a decidedly different tack. Continue reading