“That's cool, you’re a musician and you drink”: Exploring entertainers’ accounts of their unique workplace relationship with alcohol

This qualitative research investigates the alcohol experiences of entertainers who perform within licensed premises. Previous, mainly quantitative, studies have found that entertainers, specifically musicians, are an occupational group who drink excessively. This qualitative study draws on a wider sample of entertainers to examine their accounts of drinking in the workplace and the explanations they provide for this. We conducted individual semi-structured interviews (n = 24) with band-members, variety acts and DJs in Glasgow, Scotland. This revealed a workplace characterised by continual opportunities for often free alcohol consumption. Unlike most occupations, for entertainers ‘drinking-on-the-job’ was normative, expected, and sometimes encouraged by peers, the public, employers or sponsors. Entertainers also experienced performance-related incentives to drink before, during and/or after a show; including anxiety, matching their intoxication level to the audience's, and ‘reward-drinking’. This qualitative research confirms the unique nature of the entertainer-alcohol link, even in comparison to that found within other leisure industry occupations. While providing some explanation as to why entertainers might drink excessively, participants’ accounts also suggested potential strategies for avoiding the negative outcomes of workplace drinking

The Policy and Practice of Music Education in England, 2010-2020

Since the introduction of the National Plan for Music Education there have been significant changes in music education within England. Whilst some celebrate figures that report increased access and engagement, many teachers and others continue to have legitimate concerns regarding the quality of the music education on offer in schools and Music Education Hubs. There are concerns that the provision of music education is incoherent and patchy across the country. Many would argue that the opportunity to access high‐quality music education has become a ‘postcode lottery’. There is a sense that the fragmentation of music education as a result of curriculum reforms and the diversity of approaches taken by Music Education Hubs and other bodies has significantly enhanced this incoherence. This article seeks to review the policy and practice of music education in England over the last 10 years. It draws on recent research from various sources and maintains a particular focus on government policy and the consequences of this for the field as a whole. It reflects on how things could be improved in the future. It argues for a clearer focus on a practitioner‐led approach to research and advocacy, in particular one led by the notion of ‘policy as practice’ rather than continuing with the current approach and its intrinsic failings

Making live music count:The UK live music census

In 2017 we conducted the first-ever nationwide live music census, allowing for unprecedented levels of detailed, comparable data on the live music cultures of different localities. Live music censuses have been increasingly used in recent years (e.g. Melbourne, Edinburgh, Bristol) to illustrate the value of music to policymakers. This has coincided with challenging times for urban live music venues, particularly small venues and clubs. We present key census findings here, reflecting on how local contexts both shape the census process and may be informed by it, and on the growth of the idea of “Music Cities” to inform policy

Presented to Lionel Hampton

Plaque. 7 1/2""x6 3/4"" Shield wood finish plaque with silver engraved plate and easel on the back To Lionel Hampton from the Musicians Union of Singapore. Dec. 27, 1966300 dpi, 8-bit depth, color, Nikon D100 digital camera, Nikon Capture 4, Adobe Photoshop 7.0, Archival Master file is a TIF

Professional Orchestral Musicians' Benefit Association of Australasia minutes

This item is inscribed on the UNESCO Australian Memory of the World Register as part of the Minute Books of Pre-Federation Australian Trade Unions (http://www.amw.org.au/register/listings/minute-books-pre-federation-australian-trade-unions

The labour market for jazz musicians in Paris and London: Formal regulation and informal norms

This article examines the normative expectations freelance jazz musicians have about the material conditions of live performance work, taking London and Paris as case studies. It shows how price norms constitute an important reference point for individual workers in navigating the labour market. However, only rarely do they take ‘stronger’ form as a collective demand. Two further arguments are made: first, that the strength of norms varies very widely across labour markets, being much stronger on jobs where other qualitative attractions (such as the scope for creative autonomy) are weak. Second, in the Paris case, an ostensibly solidaristic social insurance mechanism (the Intermittence du Spectacle system) had the seemingly paradoxical effect of further weakening social norms around working conditions. Workers’ individual efforts to meet the system’s eligibility criteria often disrupted the emergence of collective expectations around pricing, and in some cases the existence of formal regulation itself was stigmatized as stifling creativit