Apr 13, 2012

It’s always good to find a nice article about yourself!

Please feel free to click through and share your thoughts with Christopher England.  The views expressed are those of the author, Christopher England.

Radio for communities of interest

I’ve spoken before about my personal definition of community radio (here).  Well, community-access radio.  But, I might be slightly wrong by not being completely inclusive.

In the 1980s the Home Office was set to licence dozens, if not hundreds, of community radio stations around the country and it asked for expressions of interest.  As you might expect, they were overwhelmed with applications from the predominantly left of centre self-appointed spokespeople with politically charged formats.

Among these were a few ‘genuine’ community radio ideas, but the scary prospect of ‘ditch the bitch’ type bile being spewed into the airwaves by Trotskyites wasn’t something that sat well with Mrs Thatcher’s government of the day.  The idea of community radio was silently put on hold for many decades.

However, one thing that did come from this time of false promises was two definitions of community radio.

The first could be described as not too dissimilar to my own preachings, and is a radio station with a defined geographical reach, dealing with inclusive programming from and for ALL the people of that geographical area.

The second was described as ‘community of interest’ and was essentially not geographically defined nor confined other than because of the logitistics of not being able to broadcast to the entire UK (Ideally however, ‘community of interest’ radio should be ‘national’ in reach).

A ‘community of interest’ station could range from being a radio station using a specific ethnic community non-English language, through to being a radio station for lovers of a particular type of music.  In fact, the ‘community of interest’ brush is quite a broad one really.

Its broadness of course can leave the whole process open to abuse, with licences in danger of being granted to an ad hoc ‘community of interest’ and the resultant radio station just sounding like any other commercial radio enterprise, so we have to find examples of what constitutes a ‘community of interest’ that is being successfully served by a community radio station.

An example should be one that I feel excluded from.  Indeed, all community radio should exclude me except for one aimed at the geographical area I live in, or one aimed at those with similar interests to me (whatever the heck those might be).  So, let’s look at one that I instantly feel excluded from, Celtic Music Radio.

Celtic Music Radio broadcasts to Glasgow, and although music based, is quite clearly for the generations that define themselves by their heritage.

They say:

“Celtic Music Radio has a mission to be a strong cultural voice for contemporary and traditional Scottish music, arts and culture, pioneering new frontiers in communication and broadcasting by including people that do not have access to mainstream media.

The service is targeted at our ‘community of interest’, namely the Glasgow area’s practising creative artists in a broad range of music and cultural endeavour across a range of genres of music, media and speech.

The service aims to advance education, in particular by promoting the performance, learning and appreciation of a broad spectrum of Celtic music and cultural activity; to enhance the understanding of this genre of music and be pro-active in the development of the rich heritage of Celtic music and Scottish culture.”

(A Celtic gentleman from Celtic land playing Celtic music)

To me, this seems like a really good definition of a community radio station, I can’t fault it.

And, does it pass the excluding Christopher England test?  Yes it does.

I mean, why would I want to listen?

Exactly.  That’s proved it is a ‘community of interest’ service outside of my own ‘community of interest’.  Now, by definition Celtic Music Radio has had to Scottishify themselves, but in truth their programming would suit ‘any’ Celtic interest across the UK and Ireland or indeed the planet, whether that be ‘Irish’ or ‘Welsh’ rather than ‘Scottish’, or any lover of their traditional music to commit suicide to (f’narr, my view only of course!).

Now, it seems to me that Celtic Music Radio is a shining example of community radio.  In contrast, a community radio station just playing the same music as any other commercial radio station, like for instance the “Superstation” broadcasting at Orkney, certainly is not.

Apr 10, 2012

Tune into Gordon Hotchkiss’ Hotchpotch this Wednesday from 7pm – 10pm for a tribute to The Dubliners’ Barney McKenna, who died on Thursday.

The following is from The Irish Times:

BARNEY McKENNA, the last surviving member of the original Dubliners, died on Thursday, leaving behind a lasting legacy as a musician and band member.

McKenna (72) had not been in good health in recent years, having suffered a stroke, loss of sight in one eye and diabetes.

The jovial musician, who transformed the tenor banjo into an essential instrument of the Irish traditional scene, was in the kitchen of his Howth home yesterday having breakfast with a friend, classical guitarist Michael Howard, when he appeared to fall asleep. Attempts to revive him failed and he died on the way to Beaumont Hospital.

His death comes in the Dubliners’ 50th anniversary year. They held two atmospheric concerts at Christ Church Cathedral in January.

He regaled the audience on those nights with stories of how music was his only solace growing up, when there wasn’t “Space Invaders and things like that”.

Photo by Gordon Hotchkiss

Only a few weeks ago he was involved in the making of the official Irish single for Euro 2012, which is inspired by The Rocky Road to Dublin, a song made famous by the band.

He was born into a musical family in Donnycarney on Dublin’s north side and took up the tenor banjo because he could not afford a mandolin.

He was working as a glassblower when he met Ronnie Drew, Luke Kelly and Ciarán Bourke in O’Donoghue’s pub, Merrion Row, in 1962.

Together they formed arguably the most enduring and influential folk group in Irish musical history.

Yesterday his fellow Dubliners John Sheahan, who is now the longest-serving band member, and Eamonn Campbell described McKenna as a “brother”.

Fiddle player Sheahan said he had been overwhelmed with messages of sympathy from fans.

“I feel like I could just be as easily sympathising with them,” he said. “It’s a universal loss. Everybody is going to miss him hugely.”

His sudden death means The Dubliners’ planned 10-date tour of Denmark next month is in doubt.

The Dubliners remain one of Ireland’s biggest cultural exports. Their itinerary this year also included a seven-night stint at Vienna’s prestigious music hall the Metropol during the summer.

Campbell said he was “completely devastated” by McKenna’s death. “I can’t come to terms with the suddenness of it,” he said. “He was unique. There will never be another Barney.”

McKenna was famous for his “Barneyisms” – quaint sayings that made sense only to him – and his storytelling abilities.

“He was a very droll man and great company,” added Campbell. “You’d never know what he’d come out with next. He was just a great guy. My favourite song that he sang was I’m a Man You Don’t Meet Every Day, and that was true about Barney.”

Broadcaster and banjo player Kieran Hanrahan said McKenna was the “single most important figure” in the development of the tenor banjo in traditional music.

Tributes were paid by President Michael D Higgins, who counted him as a friend and said his influence on and generosity to other musicians was “immense”.

Minister for Arts Jimmy Deenihan described him as one of “life’s gentlemen”.

McKenna was predeceased by his Dutch wife Joka. He is survived by his partner, Tina, his sister Marie, his brother Seán Óg, who is also a musician, and his nephews and nieces.

Gordon will also be remembering the Titanic tradgey this Wednesday.

Mar 30, 2012

Craig Coultman-Smith is Celtic Music Radio’s Business Relationships Manager.

Craig is eager to help you to take full advantage of the advertising power contained in Celtic Music Radio’s unique audience. You can call him on 0772 535 6623 or email craig@celticmusicradio.net

After ‘growing up in radio’ in Australia, Craig moved to Scotland in 2010 and quickly settled in as a Scozzie. He has extensive experience in commercial radio, having worked as an on-air personality, media salesman, copywriter, producer and marketer.

In Australia he wrote two nationally syndicated radio shows and has won a Silver Stylus Award for radio copywriting.

As a consultant to the radio industry, Craig has rebranded and relaunched two major radio stations in Melbourne and Brisbane.

We are pleased he is now applying his experience to help Celtic Music Radio.  According to Craig, “Radio is the most fun you can have with your clothes on!”

Craig is eager to help you to take full advantage of the advertising power contained in Celtic Music Radio’s unique audience.

You can call him on 0772 535 6623 or email craig@celticmusicradio.net

Download our Information Pack Here

Mar 30, 2012

This week’s Celtic Music Radio Album of the Week is from the Rachel Hair Trio – No More Wings.

Listen into Rachel talking with Ross from 12 noon and 12 midnight Saturday 31 March and from 6.00pm on Monday 2 April.

One of the leading bands on Scotland’s vibrant folk scene, the Rachel Hair Trio presents a sparkling blend of melodic harp mastery, rootsy songs and sophisticated rhythmical drive.

Fronted by acclaimed harpist-compose Rachel Hair and featuring the much-in-demand singer-guitarist Jenn Butterworth alongside top Scottish double bassist Euan Burton, the group has honed a repertoire drawn from traditional, contemporary and international sources to create performances that crackle with character, passion, verve and joie de vivre.

Rachel Hair, from the Highland village of Ullapool, is a harpist-composer whose sparky, mischievous personality shines throughout her music.

A first class Music Honours graduate from the University of Strathclyde and Alexander Stone Award winner, her 2 highly commended solo albums have gained her admirers worldwide allowing her to perform regularly throughout the UK, Europe and further afield.

Much sought after guitarist and singer Jenn Butterworth (from Whithorn) has performed with the best of the Scottish music scene including Phil Cunningham, Aly Bain and the hugely successful Anna Massie Band.

Her bold, but respectful guitar playing is a perfect match to her heartwarming delivery of songs.

Double Bassist, Euan Burton (from East Kilbride) is one of Scotlands leading bass players and has established an international reputation, having performed with many top International Jazz musicians.

Euans’ imaginative and creative playing has gained him great critical acclaim.

Click here to buy a copy of No More Wings from Amazon and support Celtic Music Radio.

Listen into Rachel talking with Ross from 12 noon and 12 midnight Saturday 31 March and from 6.00pm on Monday 2 April.

Mar 23, 2012

The Celtic Music Radio Album of the Week for week commencing Saturday 24 March is Bann from Breabach.

Join Ross chatting with Calum MacCrimmon from 12 noon and midnight on Saturday, and 6pm on Monday.