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moteltrogir · 3 years

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Kamalapur Railway Station in Dhaka

Architectural Optimism of Bangladesh

Saša Šimpraga, 2021.

Adnan Zillur Morshed is an architect and architectural historian with focus on history and theory of modern architecture and urbanism; global history; urban poverty and spatiality; water and architectural historiography; and ecological urbanism in developing countries. He received his Ph.D. and Master’s in architecture from MIT and completed his pre-doctoral studies at the Center for Advanced Study in the Visual Arts at the National Gallery of Art and postdoctoral under Verville Fellowship at the National Air and Space Museum in Washington, DC.

Morshed is the author of several books among other: Impossible Heights: Skyscrapers, Flight, and the Master Builder which examines the American fascination with the skyscraper and the airplane as part of a widely shared cultural phenomenon--the aesthetics of ascension--that characterized the interwar period. His books also include DAC, Dhaka through Twenty-Five Buildings.

He is a professor at the School of Architecture and Planning of the Catholic University of America in Washington, D.C.

Adnan Morshed is also involved with local and international intiatives on preservation of modernist architectural heritage of Bangladesh. We talk to him on the occasion of current international appeal to save the Kamalapur Railway Station in Dhaka from demolition.

SŠ: A gem of the Modern Movement in South Asia, The Kamalapur Railway Station in Dhaka, designed by Daniel Dunham and Robert Boughey in the 1960s is threatened due to the an urban expansion plan of the Dhaka Metro Rail's Line that includes its demolition and replacement by a new infrastructure, rather than its adaptation. What is the significance of the building and its current status?

Adnan Morshed: Kamalapur Railway Station is a rare modern train station in South Asia. It adopts an aesthetic vocabulary of tropical modernism for a public building in ways that have not been seen before in the region. The station’s modernist architecture breaks with colonial precedents both in the imperial center and on the subcontinent. In London, St. Pancras Station (1863–76) encapsulated modern values of mobility and exchange, while the Chhatrapati Shivaji Terminus (formerly Victoria Terminus; built in 1888 and now a UNESCO World Heritage) in Mumbai and Howrah Station (1906) in Kolkata functioned as symbols of imperial hegemony.

The histories of colonialism and train infrastructure are deeply intertwined in South Asia. In 1862, the Eastern Bengal Railway Company opened the first railway line in the region from which it took its name. Connecting Kolkata with the western Bangladeshi town of Kushtia, this expansion of train services signaled a new phase in the growth of East Bengal’s colonial economy. Due to geographical challenges posed by Bengal's deltaic terrain, the railway did not arrive in Dhaka until the following century, after the city’s economic profile had risen and it was subsequently made, in 1947, the provincial capital of then-East Pakistan. In 1958, the government approved the creation of a new railway depot, which was inaugurated a decade later as Kamalapur Railway Station. Not only was it one of the largest modern railway stations in South Asia, but it also embodied changing conceptions of modernity, from the bracing mobility of 19th-century railways to the soaring modernism that defined the 1960s.

Kamalapur Railway Station, Photo by Anik Sarker/ Wikipedia

SŠ: Also in danger of demolition is the Dhaka University Teacher-Student Center Building by Greek architect Constantinos Doxiadis (the mastermind behind planning the city of Islamabad) from early 1960s. The structure exemplifies a modernist architectural sensitivity toward spatial needs for tropical climatic conditions. TSC's dome-shaped structure with empty spaces around is considered an iconic landmark not only inside Dhaka Uiversity campus, but in the broader cityscape of Dhaka. How optimistic are you about its future? And what is the general status of modernist architectural heritage of Bangladesh?

Adnan Morshed: I am concerned about the mid-20th-century buildings in Bangladesh because of the ways the notion of development is taking precedence over environment, history, and, generally, human wellbeing. Many buildings are about to face the wrecking ball. These buildings include the Teacher-Student Center or TSC. Located at the historic heart of the University of Dhaka, TSC exemplifies a type of tropical modernism that blends local architectural traditions of space-making—particularly the indoor-outdoor continuum and generation of space around courtyards—with the abstract idiom of the International Style. The complex of buildings was designed by the Greek architect, planner, and theoretician Constantinos Apostolos Doxiadis (1913–1975) in the early 1960s. This was a turbulent time marked by conflicting currents of political tension and architectural optimism in what was then East Pakistan, now Bangladesh. On the one hand, the two wings of postcolonial Pakistan were at loggerheads because of the political domination of East Pakistan by the military junta based in West Pakistan. On the other hand, many architectural opportunities arose in East Pakistan, which benefitted from American technical assistance. The United States allied with Pakistan as part of its Cold War-era foreign policy to create a geostrategic buffer against the socialist milieu of the Soviet Union–India axis in South Asia. Under the purview of a technical assistance program, the United States Agency for International Development and the Ford Foundation provided support for building educational and civic institutions in East Pakistan. Since there was a dearth of experienced architects in East Pakistan, the government sought the services of American and European architects for a host of buildings that were constructed during the 1960s. Doxiadis was among them.

TSC, Photo by Fasiha Binte Zaman/ Wikipedia

TSC is also a demonstration of Doxiadis’s idea of ekistics, by which he meant an objective, comprehensive, and integrative approach to all principles and theories of human settlements. Criticizing the top-down planning model which he viewed as a central problem associated with modernism, Doxiadis employed the notion of ekistics to promote a multidisciplinary, inclusive, and bottom-up approach. He hoped that such a method would create a synergy of local and global influences, by which one could successfully meld a data-driven theorization of planning, universal values of harmonious living, and place-based cultural inflections.

In this vein, Doxiadis aligned the TSC’s ensemble of buildings on an east-west axis, to take advantage of the prevailing breeze from the south or north. The three-story Student Union Building features a “double roof” that minimizes heat gain by allowing cool breezes to pass in between the two canopies. The ingenious solution proved to be a trendsetting feature, but it was just one of the complex’s many innovations. Doxiadis covered the auditorium with a reinforced concrete parabolic vault, a pioneering construction technique that had yet to be tested in the country. Covered walkways, supported on steel columns, weave together the major buildings and green spaces, serving as the social spine of the entire complex. In the post-Independence period, TSC became the epicenter of political agitation within Bangladesh, serving as a backdrop to political demonstrations.

SŠ: Pioneer od modernist architecture in Bangladesh, Muzharul Islam, began hes career in the 1950s. Born in 1923, he went to study architecture in the United States, and then returned to Bangladesh. Along with his teacher Louis Kahn, he also brought Paul Rudolph and Stanley Tigerman to work in Bangladesh, and three of them came to be known as the American Trio. Apart from the Trio, it was Islam's style that dominated Bangladesh architecture from 1950s onwards. What is his legacy in architectural history of Dhaka?

Adnan Morshed: Not only was architect Muzharul Islam Bangladesh's pioneering modernist architect, he was also an activist designer who viewed architecture as an effective medium for social transformation. His early work shows how architecture was deeply embedded in post-Partition politics.

Consider his “master piece,” the Faculty of Fine Arts (1953-56) at Shahbagh in Dhaka. At first encounter, the building presents the image of an international-style building, with a quiet and dignified attention to the architectural demands of tropical Bengal. Closer inspection, however, hinders the Eurocentric tendency to measure the building's “modernity” exclusively through a “Western” lens. A host of nuanced architectural modulations and environmental adaptations reveals how Muzharul Islam's work cross-pollinates a humanising, modernist architectural language with conscious considerations of climatic needs and local building materials.

Faculty of Fine Arts, Photo by Rossi101/ Wikipedia

The literature on South Asian modern architecture usually identifies the Faculty of Fine Arts as the harbinger of a Bengali modernism, synthesising a modern architectural vocabulary with climate-responsive and site-conscious design programmes. What has not been examined in this iconic building is how Islam's work also provides a window into the ways his architectural experiments with modernist aesthetics were part of his inquiries into the ongoing politics of Bengali nationalist activism.

Muzharul Islam interpreted the prevailing political conditions in his homeland as a fateful conflict between the secular humanist ethos of Bengal and an alien Islamist identity imposed by the Urdu-speaking ruling class in West Pakistan. The turbulent politics in which he found himself influenced his worldview as well as his fledgling professional career. The young architect began his design career in a context of bitterly divided notions of national origin and destiny, and his architectural work would reflect this political debate. He felt the need to articulate his homeland's identity on ethno-cultural grounds, rather than on a supra-religious foundation, championed by West Pakistani power-wielders. Muzharul Islam's Faculty of Fine Arts embodied these beliefs.

With his iconoclastic building, Islam sought to achieve two distinctive goals. First, the building introduced the aesthetic tenets of modern architecture to East Pakistan. For many, its design signalled a radical break from the country's prevailing architectural language for civic buildings. These buildings were designed either in an architectural hybrid of Mughal and British colonial traditions, popularly known as Indo-Saracenic, or as utilitarian corridor-and-room building boxes, delivered by the provincial government's Department of Communications, Buildings, and Irrigation (CBI). The Faculty of Fine Arts was an unambiguous departure from the colonial-era Curzon Hall (1904–1908) at the Dhaka University, within walking distance of Islam's building, and the Holy Family Hospital (1953; now Holy Family Red Crescent Medical College Hospital).

Faculty of Fine Arts, Photo: Wikipedia

Second, the Faculty of Fine Arts' modernist minimalism—rejecting all ornamental references to Mughal and Indo-Saracenic architecture—was a conscious critique of the politicised version of Islam that had become a state apparatus for fashioning a particular religion-based image of postcolonial Pakistan. By abstracting his design through a modernist visual expression, Muzharul Islam sought to purge architecture of what he viewed as the political associations of instrumental religion.

SŠ: Internationally, perhaps the most known modernist structure in Bangladesh is the National Parliament Complex, designed by Louis Kahn and associates. Its construction began in 1964, in what is now known as the Decade of Development for Bangladesh and time when Dhaka was the second capital of Pakistan. When talking about architecture in general, Muzharul Islam stated that „practical aspects of architecture are measurable – such as, the practical requirements, climatic judgments, the advantages and limitations of the site etc. – but the humanistic aspects are not measurable.“ Those aspects come when the architect leaves and building starts its life. How did that highly acclaimed complex came to be a part of the national identity and how its architecture influences culture in a broader sence?

National Parliament Complex in Dhaka, Photo: Yes, Louis Kahn

Adnan Morshed: The American architect Louis Isadore Kahn's Parliament building in Dhaka is considered one of the architectural icons of the twentieth century. Intriguingly, Kahn was not the first choice for the project. After two masters, Le Corbusier and Alvar Aalto, had turned down the invitation from the government of Pakistan, the megaproject went to the architect from Philadelphia. After multiple design iterations and many bureaucratic entanglements, the construction of the Parliament building began in October 1964, at Sher-e-Bangla Nagar.

Kahn first visited Dhaka in early March of 1963, after he had received the commission to plan the Parliament complex of East Pakistan. Five years earlier, the commander-in-chief of the Pakistani army, Mohammad Ayub Khan, took control of the government through a military coup and imposed martial law in October 1958. In 1960, the military man was “elected” to a five-year presidency. Pakistan's new constitution of 1962 called for a “democratic” election to be held in 1965. The decade of the 1960s was a politically tumultuous period in East Pakistan. Bengalis felt exploited and ignored by West Pakistan's military regime and, consequently, dreamed of independence from the doomed political geography of a nation with two units separated by over 1,000 miles. Aware of the political and economic disparity between the two halves of Pakistan and concerned about his own re-election bid, Ayub Khan's administration came up with a political strategy to mitigate the grievance of the Bengalis.

National Parliament Complex in Dhaka, Photo: Yes, Louis Kahn

The idea of a “second capital” for East Pakistan was born in this context. This showcase capital would, it was hoped, “bind East Pakistan more firmly to the nation by conducting the nation's business for half of each year.” The political drama that ensued from then on explains how the Parliament building, first conceived as a “bribe” for the Bengalis, gradually took on a whole new identity as a symbol of the people's struggle for self-rule. With rudimentary construction tools and bamboo scaffolding tied with crude jute ropes, approximately 2,000 lungi-clad construction workers erected a monumental government building. Slowly but steadily, they unwittingly portrayed the broader resilience of a nation revolting against economic and social injustice. If the Shahid Minar symbolised the language movement during the 1950s, the Parliament building portrayed the rise of the independence-minded Bengalis during the 1960s.

Kahn searched for inspirations from the Bengal delta, its rivers, green pastoral, expansive landscape, raised homesteads, and land-water geography. Soon after he had first arrived in Dhaka, he went on a boat ride on the Buriganga River and sketched scenes to understand life in this tropical land. He didn't have any problems in blending Bengali vernacular impressions with those of classical Greco-Roman and Egyptian architecture he had studied during the 1950s. As the war broke out in 1971, Kahn's field office in East Pakistan quickly closed and construction work discontinued. During the liberation war, an ironic story persisted that Pakistani pilots didn't bomb the building assuming that it was a ruin! That “ruin” eventually became an emblem of the country, adorning national currency, stamps, rickshaw decorations, advertisements, official brochures, and so on. When it was more or less completed in 1983—more than a decade after East Pakistan (later Bangladesh) emerged as a new nation-state and 9 years after Kahn's unexpected death in New York City—the Parliament complex emblematised the political odyssey of a people to statehood.

National Parliament Complex in Dhaka, Photo: Yes, Louis Kahn

SŠ: Transformation of Dhaka today is intensive. What would be some of the significant architectural achievements in contemporary Dhaka and Bangladesh?

Adnan Morshed: The architectural scene in Bangladesh has been thriving with a “new” energy over the past two decades or so. Bangladeshi architects have been experimenting with form, material, aesthetics, and, most importantly, the idea of how architecture relates to history, society, and the land. Their various experiments bring to the fore a collective feeling that something has been going on in this crowded South Asian country. One is not quite sure about what drives this restless energy! Is it the growing economy? The rise of a new middle class with deeper pockets? Is it an aesthetic expression of a society in transition? Is it aesthetics meeting the politics of development?

Whatever it is, an engaged observer may call this an open-ended search for some kind of “local” modernity. Bangladeshi architects have been winning architectural accolades from around the world for a variety of architectural projects. High-profile national architectural competitions have created a new type of design entrepreneurship, yielding intriguing edifices. Architects have also been expanding the notion of architectural practice by engaging with low-income communities and producing cost-effective shelters for the disenfranchised. Traditionally trained to design stand-alone buildings, architects seem increasingly concerned with the challenges of creating liveable cities.

No doubt it is an exciting time in Bangladesh, architecturally speaking, even if the roads in the country's big cities are paralysed by traffic congestion and a pervasive atmosphere of urban chaos. In the midst of infernal urbanisation across the country, an architectural culture has been taking roots with both promises and perils, introducing contentious debates about its origin, nature, and future.

Architecturally, the 1980s was an interesting time, as divergent ideas began to permeate architectural thinking in the country. Three stories should be mentioned. An “avant-garde” architectural study group named Chetona (meaning awareness) sought to introduce critical thinking as an essential part of architectural practice. Many architects, senior and junior— disillusioned with the prevalent role of architecture as primarily a professional practice without broader social visions and engagement with history and culture—gravitated toward Chetona, meeting at Muzharul Islam's architectural office, Bastukalabid, at Poribagh. The iconoclasm of the study group revolved around reading critical writings in architecture, criticism of current methods of architectural pedagogy, and reasoned questioning of architecture as a technical discipline. The group's reading list ranged from Rabindranath Tagore to the Franco-Swiss architect Le Corbusier to the Norwegian architectural theorist Christian Norberg-Schulz.

The influence of the Aga Khan Award for Architecture (AKAA), an architectural prize established by Aga Khan IV in 1977, was also felt strongly during the 1980s. The award sought to champion regional, place-based and culture-sensitive architectural impetuses in Islamic societies. Awardees included projects in contemporary design, social housing, community development, restoration, adaptive reuse, and landscape design. Architects were inspired to look for a “spirit of place.” Regionalism was in vogue.

The Aga Khan Award for Architecture's flagship magazine, Mimar: Architecture in Development, first published in 1981, influenced many Bangladeshi architects and architecture students in thinking beyond western modernism and the aesthetic conventions it allegedly created. At its inception, Mimar was the sole international architecture magazine focusing on architecture in the developing world. In many ways, the magazine's celebration of “local” expanded the scope of architectural practice in the country and gave rise to new aspirations among architects, who were willing to search for organic roots in architecture.

Bait Ur Rouf Mosque in Dhaka by Marina Tabassum, 2016 Aga Khan Award Recipient

The new architectural aspirations coincided with the rapid urbanisation of Bangladesh and the rise of an urban middle class that spawned a flourishing culture of architectural patronage. A historically agrarian country, Bangladesh began to urbanise rapidly from the late 1980s. The country's total urban population rose from a modest 7.7 percent in 1970 to 31.1 percent in 2010. Impoverished rural migrants began to flock to major cities, particularly the capital, Dhaka, in search of employment and better lives. Its population skyrocketed from 1.8 million in 1974 to more than 6 million in 1991 and to nearly 18 million today. The capital city's massive population boom created an unsustainable demand on urban land, and in return, land values increased.

During this transitional period, real estate developers emerged as powerful economic actors in Dhaka and beyond, playing a key role in replacing traditional single-family houses with multi-story apartment complexes. Meanwhile, public-sector housing failed to meet the demand, and in this vacuum, private real estate companies flourished rapidly. As private developers became key actors in the city's housing market, a trade association was needed to regulate the real estate sector and to ensure fair competition among its members. The stratospheric rise of private real-estate developers suggested that there was a robust market for high-density, multifamily apartments, even though affordability remained a major hurdle. Many architects experimented with material, form, spatial organisation, construction, aesthetic expression, and the individual plot's urban relationship to the neighbourhood.

A burgeoning class of urban entrepreneurs—who made their fortunes in the country's export-oriented ready-made garments industry, manufacturing and transportation sectors, construction industry, and consumer market—emerged as a new generation of architectural patrons, investing hefty amounts of money to build their signature single-family houses and other projects, including apartment complexes, hospitals, shopping malls, private schools and universities, factories, spaces of worship, etc.

And, happily, architects began to find work abundantly from the mid-1990s. Design consultancy until the early 1990s was limited to a handful of architectural firms. But soon thereafter new, smaller firms, run by younger architects, began to reshape the traditional methods of architectural design practice in the country.

The liberalisation of the market, the emergence of a strong private sector, and rapid urbanisation resulted in the need for a range of building typologies and related architectural design services. In the public sector, government organisations began to evaluate the social and commercial value of aesthetic expression and hired architectural firms to compete in the building market. All of these developments ushered in a vibrant and dynamic opportunity for architectural experiments. The last two decades in Bangladesh witnessed an intense battle of architectural ideas. The earlier attitudes to orthodox modernism or regionalism in architecture dispersed into a more nuanced landscape of aesthetic abstraction.

SŠ: „For most of modern history, cities grew out of wealth. Even in more recently developed countries, such as China and Korea, the flight towards cities has largely been in line with income growth. But recent decades have brought a global trend for “poor-country urbanisation”, in the words of Harvard University economist Edward Glaeser, with the proliferation of low-income megacities.“ Dhaka is an example of such a city that has outpaced develepoment and has grown tremendously. Can planned urbanisation even tackle such a huge task in given circumstaces?

Adnan Morshed: While architecture rose and prospered as individual plot-based or stand-alone practices, cities—Dhaka as a glaring example—as a whole descended into unbearable chaos. In extreme cases, Taj Mahals coexisted with overflowing dumpsters. Private oases and sumptuous cafes overlooked the ghettoised world of slums. While architects searched for Bengali roots and global gravitas in their work, they mostly failed to promote an “ethical” view of how city should function and treat all its citizens.

While globalisation went on with a cutthroat consumerist and neoliberal agenda, and architecture patronage benefitting from it, social inequality grew manifold. Architects seemed confused as to how architecture could or should also play mitigating roles in addressing the issues of social justice. Slums burned and architects rushed to the site with naïve, superficial aesthetic solutions without trying to understand the exploitative economic and political systems that blight society in the first place. The feeling that “architecture is great but the city rots” sometimes seems overwhelming.

Walking in some of Dhaka's walkable streets fronted with exclusive-looking buildings, an observer might wonder how architecture could showcase the rising stature of a developing country, while failing to play a role in making it socially just.

In Croatian: https://vizkultura.hr/intervju-adnan-morshed/

Projekt Motel Trogir u 2021. godini podržan je od Ministarstva kulture i medija Republike Hrvatske i Zaklade Kultura nova.

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carpentrix · 6 years

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A drive to the western part of the state to get some new views, we paused in a town called Greenfield to put blood in our legs and see what was there. Mid-March, still cold, the first Saturday since Daylight Saving had lengthened the days. On the drive, I thought about all the other drives west out Route 2. The Wagon Wheel in Gill. A picnic table across a bridge. A leather and lambswool depot on the side of the road where everything is soft. Now and then-ness. So, a beer, why not, in this unfamiliar town. A place called Seymour pulled us in and we sat at the bar which was quiet and golden in the good five pm light. A man and a woman played cards a few stools down; a trio sat at a table and laughed. A box of Trivial Pursuit cards, original edition, was there on the bar and we asked each other questions. What U.S. state is named after a Greek island? How many feet in a fathom? Who’s the patron saint of Scotland? Who made it big with Tiptoe through the Tulips in 1968? Do you know? Can you answer? (I guessed Georgia for the state. Wrong. Rhode Island.) I remember the box in our house as a kid, dark green, somehow stern, definitively adult. It’s not humbling in a good way, the way tripping on the sidewalk sometimes is. Though maybe there’s an argument to be made for getting a reminder of how much you don’t know. What sort of wood is this, I was asked about the bar at which we sat. Cherry, I said. It was good to touch. Good to place your hands upon, as though it was touching you back. But then I second guessed. What sort of wood is this, I asked the bartender. Cherry, he said. Sometimes you don’t know how much you know. I got most of the trivia answers wrong. I was glad I was right about the wood. We slipped out before it was dark, the bar filling up, St. Patrick’s Day. If I’d known who the patron saint of Scotland was, I would’ve asked, do they celebrate St. Andrew?

#wood #cherry #carpentry #Western Mass #Route 2 #Seymour #Greenfield #Trivial Pursuit #what you remember

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charlesccastill · 6 years

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Gluckman Tang Master Plan for North Adams Creates New Connections Between Contemporary Landmarks and Historic Structures in North Adams

NEW YORK—Gluckman Tang Architects has developed a master plan for Western Gateway Heritage State Park (Heritage Park) for the City of North Adams, MA.

Heritage Park is a key component of the “Cultural Corridor,” a regional development initiative spearheaded by Thomas Krens, former director of the Guggenheim Foundation, that aims to transform the city and region into a world-class locus of contemporary art and architecture.

“In addition to improving the experience for visitors to North Adams, our master plan will enhance the central role of the city in the Cultural Corridor and its anchor institutions, the Massachusetts Museum of Contemporary Art (Mass MoCA) and The Clark Art Institute,” said Gluckman Tang principal Richard Gluckman.

Gluckman Tang’s plan for Heritage Park will strengthen strategic connections within the city of North Adams, provide site and infrastructure improvements, and also includes schematic designs for repurposing six historic structures as a museum and craft distillery complex.

The plan focuses on a former depot for the Troy and Greenfield Railroad. It proposes improvements to better connect the park with four points: Main Street, Mass MoCA, the restored Hoosac riverfront, and the site of the Extreme Model Railroad and Contemporary Architecture Museum (EMRCAM) by Gehry Partners.

The plan reorganizes the site into three plazas. The South Plaza is expanded to help orient visitors arriving at Heritage Park and the EMRCAM. The Central Plaza comprises a grove of birch trees and outdoor seating. The North Plaza features an intimate amphitheater for performances and gatherings. The plazas are linked with a pedestrian path and a proposed extension to the Williamstown-Ashuwillticook Bike Trail.

Also included in the plan are schematic designs for adapting and expanding six industrial buildings for a variety of uses. These include:

Adding 6,000sf to a 14,000sf 19thcentury warehouse to house the Gluckman Tang-designed Museum of Time. The addition comprises an irregular extrusion that extends the exhibition space and a glazed atrium/entry with a steep butterfly roof

Transforming a trio of 2,500 sf former dry-goods storage buildings into a linked mixed-use facility housing retail, food and beverage services, and office space

Removing several floors of a 3,250sf coal hopper, opening up the interior to create a triple-height distilling hall with a mezzanine observation level, and adding a 4,000sf tasting hall and retail space

Converting a 3,500sf grain warehouse into a storage and events space

Consultants for Gluckman Tang’s Western Gateway Heritage State Park master plan include IPD Engineering (SMEP), VIP Structures (cost estimating), and Berkshire Engineering (civil engineering).

from Boston Real Estate http://bostonrealestatetimes.com/gluckman-tang-master-plan-for-north-adams-creates-new-connections-between-contemporary-landmarks-and-historic-structures-in-north-adams/

#boston #condos #boston condos #boston luxury condo #boston condominium #boston rentals #boston condo

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jerome-blog1 · 4 years

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The Sounds of the Sixties

Bristol & West Country Bands – Music of the 60’s

In the heady days of the early 1960’s, a time of massive change and innovation in the world of popular music. Fuelled by the excitement and electricity surrounding the new sounds of the time.

Merseybeat stars head down south – With the Merseyside inspired "Beat Boom" in full swing, the big stars in Bristol this week in 1963 had to be from up north.

Topping the bill at the Colston Hall were Billy J Kramer and the Dakotas who had just had a couple of massive hits with Do You Want to Know a Secret (No.2) – a Beatles’ written ditty – and Bad to Me (No.1).

You certainly got your money’s worth in those days. Also on the twice-nightly bill was Tommy Roe, an American who had shot up the charts with Sheila and the Folk Singer, plus a string of lesser acts. Tickets ranged from four shillings and sixpence to 10 shillings and sixpence (average wages were then about £10 a week).

The end of the month would see Freddie and the Dreamers, the Searchers and Brian Poole and the Tremeloes (who were riding high in the charts with Do You Love Me) invading the city. The Tremeloes had previously reached No.4 with that "oldie, but goodie" Twist and Shout – a raucous number recorded by the Beatles on their first album.

Topping the bill was Roy Orbison, who had just made the top 10 with In Dreams and Falling. His Blue Bayou would reach the No.3 spot on September 19. Top tickets, in the balcony, would set you back 12 shillings and sixpence.

In 1963, the smallish, local venues were still torn between promoting beat music or jazz. Local bands Johnny Slade and the Vikings plus Dean Prince and the Dukes were on stage at Clifton’s Victoria Rooms, with the Chinese Jazz Club at the Corn Exchange booking the Alan Elsdon Jazz Band.

"Thomas Alstone", the man with his finger on the pulse, tells us that local instrumental band the Eagles (and stars of the Bristol-made film Some People) were about to try their hand at vocals as well.

The result, on the Pye label, was an updated version of the Helston floral dance called Come on Baby, to the Floral Dance. I don’t think it made the charts. If you really wanted to know what was going on in the city in 1963 then the newly published Bristol Beat was the thing to read. Billed as "Young Bristol’s entertainment paper", it cost six pence.

This magazine informed us that the best- selling single in the city was She Loves You by the Beatles. Runner-up was Billy J Kramer’s Bad to Me. Other top sellers were Wishing by Buddy Holly and I’m Telling You Now by Freddie and the Dreamers.

If classical guitar was you thing then Julian Bream was playing at Stourhead gardens on the Sunday evening. The two guinea tickets included soup, cheese, French bread and a glass of wine.

Back in the city – the Centre to be precise – comedian Jimmy Edwards was getting astride a horse to promote his autumn spectacular at the Hippodrome. If none of this was your cup of tea then how about a trip to the movies to see some really big stars – a trio in fact.

At the ABC you could join the queue to see Marlon Brando, Trevor Howard and Richard Harris in Mutiny on the Bounty. And in September 1963, Bristol Zoo had its very own stars on show to the public – the only pair of white tigers in the world (outside India).

Bristolians were huge fans of Billy J Kramer and the Dakotas.

Recommended Link

bristolrock.net/c.aspx

www.bristolarchiverecords.com/people/people_Tony_Dodd.html

Johnny Carr and the Cadillacs

The original Bristol Comets and special guest star Sandra McCann. Formed in 1958 and playing Hamburg’s Kaiser Keller Club alongside The Beatles, Johnny Carr and the Cadillacs are the authentic sound of the ’60s. It was said that The Cadillacs were performing Twist and Shout, You’ll Never Walk Alone and Shoutlong before they became hits for The Beatles, Gerry and the Pacemakers and Lulu.

Formed in 1958. Lineup: Vocalist; Lead guitar; Rythm Guitar; Bass guitar; Drums Dave Purslow. For many years considered by most to be the most popular ‘pop group’ in Bristol. Every teenager knew of them. A very polished group fronted by the stong vocals of Johny Carr (Con Sullivan), they had a solid style and had that certain charisma that got them noticed. This was what took them to Hamburg’s Kaiser Club and playing alongside The Beatles, Johnny Carr and the Cadillacs became the authentic Bristol sound of the 60s.

The Cadillacs were performing songs like Twist and Shout, Youll Never Walk Alone and Shout before they became hits for The Beatles, Gerry and the Pacemakers and Lulu. In the early 1960s the drummer was Dave Purslow, a very large gentleman. John rennie writes: Downend had a very popular R & R club which was every Wednesday I think. Knowle had serious Saturday evening dances at the community centre featuring top local groups. Speedwell TA hall had some big dances, one easter I remember starring Johnny kidd and the Pirates with Johnny Carr and the Cadillacs supporting. There was a memmorable local group R & R concert at the old Cabot cinema (before it closed down) in Filton along the same lines as the ones at the Colston hall. What about the rag week mersey versus avon beat shows at the Vic rooms in the early 60,s I hope this stirs some memories. Regards John Rennie.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2050007986/

Chet And The Triumphs

This Bristol band once supported The Beatles at The Bath Pavilion in the early sixties. The drummer was Graham Nicholson, who lived in West Park Road, Downend. His practice sessions could often be heard when you passed by on the pavement outside. His father was an inspector on the buses, based at nearby Staple Hill Depot.

John Coldrick lived a few doors away, also in West Park Road. He often passed by when we children were playing in the street outside our house on the corner of West Park Road and North Street. He always had a cheery word for us and took it in good spirit when we called out cheeky things about teddy boys and suchlike. A thoroughly nice young man. Regards Fray Bentos

Email to the webmaster: Hi, just looked through your website,brilliant! i saw a picture of Johnny Coldrick, with his band The Triumphs. I knew john in the early 60s and would love to get in touch with him.can you help? Regards Paul Newman….would be good to hear from anyone with contact details.

Email to the webmaster: I have great memories of the Glen ballroom and the club next door called Cupids Bar. Also the bouncer at the door of the Glen being David Prouse (of Darth Vader fame)I often would have a quick dance with him which looked strange as I was barely five feet tall and he was probably at least six seven. I now live in Australia but have great memories of Bristol, which I return to on a regular basis. I was also married for nineteen years to a member of the rock band Chet & The Triumphs. Regards Pam and Gary O’keefe

See photo link below

www.flickr.com/photos/brizzlebornandbred/2975315707/

Fred Wedlock

Once described as a ‘West Country Billy Connolly, although he probably came first’, Bristolian singer and raconteur Fred Wedlock has been performing in folk clubs and concerts since the late 1960s. He was born in Bristol, England, on 23rd May 1942 and had various jobs, including being a teacher, before turning professional in the early 1970s. He is related to ‘Fatty Wedlock of Bristol City FC fame. Fred had various albums on small labels issued in the 1970s, and became widely known early in 1981 when his single The Oldest Swinger In Town hit the UK charts, rising to no. 6. Unfortunately he has never maintained that success, but the song is almost guaranteed to be played at family gatherings such as wedding receptions, as the middle-aged uncles and aunts take to the floor to gyrate after a few drinks.

Acker Bilk

The chances are that if you were asked to name a clarinet player, the first name that would spring to mind is Acker Bilk. Somerset-born Acker became world famous in May 1962 when he became the first British artist to top the US pop music charts, paving the way for other acts from the UK, such as a then still unknown band who were to have a fair amount of success on both sides of the pond a year or so after Acker’s trailblazing hit – The Beatles!

Acker’s US chart-topper Stranger On The Shore had topped the British chart some six months earlier, following its use as the theme tune of the eponymous BBC children’s TV series. The record, which would nowadays be described as easy listening, perhaps seems an unlikely double number one on both sides of the Atlantic, but in those pre-Beatle days the charts contained a fairly eclectic mixture of ballads, rock ‘n’ roll and Dixieland-style ‘trad’ (short for traditional) jazz.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2080583036/in/se…

Pete Budd and the Rebels

Pete Budd and the Rebels Line up: Lead guitar/vocals, Rythym Guitar, Saxophone, Bass and Drums. Pete Budd, then apparently voted as the ‘best guitarist in the West’ (according to the local pop music magazine ‘The Western Scene’) succeeded Les Watts as the lead vocalist and guitarist. Ivor Newick played drums and there was also had a saxophinist.

‘Somerset Born And Proud’ Pete later replaced Reg Quantrill as the Wurzels’ guitar and banjo player. One of the trio who continued after Adge Cutler’s death, he was the only member of the 1970s Wurzels who actually comes from Somerset. His is the distinctive lead voice on all of their 1970s chart hits, including their number one smash Combine Harvester and the follow-up hits I Am A Cider Drinker, Farmer Bill’s Cowman, etc. Pete is still with the band today, and therefore the second longest serving current Wurzel after Tommy Banner. Pete started out in the band Pete Budd and the Rebels and also made a few records in the 1960s in a band called The Rainbow People. Pete was running a pub/restaurant in the West Country for a while. A keen fisherman, Pete emigrated to Devon a while back. His voice has been heard in recent years singing on the TV commercials for Ambrosia Creamed Rice.

Adge Cutler

The original and indisputably the greatest Wurzel of all time, and the brains behind the whole concept. Born 1930 in Nailsea, north Somerset. Held a series of jobs before becoming a Wurzel, including working as road manager for famous clarinet player Acker Bilk (who is also from Zummerzet) and his Paramount Jazz Band, working in a cider mill (Coates of Nailsea), and working on building a power station in North Wales. Spent a year in Spain working as an agent looking for property. During his time there he grew to love the country and the Spanish way of life, as well as becoming fluent in Spanish. Formed the Wurzels in 1966 and continued to gig and record with the band until his career was sadly cut short by his untimely death in 1974, when he overturned his MGB sports car at a roundabout while driving himself home from a gig. Buried in Christchurch, Nailsea.

The Comets

One of Bristol’s own first-generation rock ‘n’ roll bands the Comets they had supported such acts as Gene Vincent and Billy Fury. The Comets were almost certainly the first Bristol based band to make the enormous leap from Skiffle to amplified music, and thus paving the way for countless other local bands in the late fifties – early sixties.

A talent contest at the Glen Ballroom in 1958 in which the Sapphires, a vocal group, and the Comets were competing. Their sound blew everyone away that night. They not only sounded great, they looked great as well, dressed like quintessential rockers of that era.

In 1960 a unique show took place at The major concert venue in the city of Bristol, England….The Colston Hall. 2000 fans packed the place on December 16th to witness the best of the cities young Rock,n,roll bands & singers, even though not one of them had a recording contract, and some of the musicians were still in school ! Such was the popularity of local bands, when there was no such thing as a disco. let alone MTV, and when there was very little "pop music" on the then austere stiif upper lip Radio.

Andy Perrott (acoustic guitar and vocals) started out as half of the ‘Antones’ with Tony Sweet and has featured in several local rock’n’roll bands including the ‘Echoes’ and the legendary ‘Bristol Comets’. Andy left the music business for a twenty year sabbatical but returned in 1984 as front man with the reformed ‘Comets’.

Tony Dodd (electric guitar and vocals) started his career in music at about the same time, as guitarist for ‘Mike Tobin and the Magnets’. Unlike Andy, Tony has been playing continually since those heady days with the Magnets, including a band in the USA where he lived for three years. Locally Tony held down a residency at the renowned ‘Dug Out’ club and his bands include ‘Hugget’ and ‘Dodds Army’, and he is now a member of the Bristol Comets’.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2050007986/

The Eagles

The Eagles were formed by Terry Clarke www.terryclarke.com/ (lead guitar), Johnny Payne (rhythm guitar), Michael Brice (bass), and Rod Meacham (drums), all students at Connaught Road School in Bristol. Their name came from the youth organization, the Eagle House Youth Club, to which they all belonged. The quartet played local dances, parties, and bingo halls, performing during the intervals between the sessions at the latter, often for whatever was in the hat that was passed around.

The Eagles were a Bristol music quartet active from 1958 through the mid 1960s.

Led by guitarist Terry Clarke, who used a homebuilt custom instrument, the group included drummer Rod Meacham, bassist Michael Brice, and Johnny Payne on rhythm guitar. Playing primarily instrumental rock, they began their career in Bristol playing local venues such as dance halls.

They were launched into the world of professional music in 1962 upon being noticed by composer Ron Grainer, probably best remembered for his theme to Doctor Who. Grainer was interested in The Eagles for a film project he was working on, Some People, about a fictional Bristol band not unlike themselves. The Eagles contributed to the Some People soundtrack, and became Grainer’s protegees, recording new versions of some of his film score work like the theme of the Maigret television series. The Some People soundtrack reached No.2 on the EP charts, and remained on the charts for a stay of 21 weeks.

The Eagles were awarded the Duke of Edinburgh Trophy for their work on the film, and soon after were signed to Pye Records, at the time among the top three labels in Britain. After releasing the singles ‘Bristol Express’ and ‘Exodus’, The Eagles embarked on a major tour of England along with more established acts Del Shannon, Stevie Wonder, Johnny Tillotson, and Dionne Warwick.

The tour world lasted much of 1963, during which their debut album, Smash Hits From The Eagles was released in the UK and the United States. The following year brought their most successful single and the one for which they are best remembered today, a vocal rendition of ‘Wishin’ And Hopin” backed with ‘Write Me A Letter’. Unfortunately, 1964 also brought a pair of tragedies which ultimately led to the end of the group: Grainer went blind, and Meachum suffered a nervous breakdown. Soon after, in late 1964, the band went their separate ways.

After The Eagles Clarke continued in the music business, with the band Pickettywitch and later as a session musician and solo artist, working with such artists as Michael Messer, Willie Nelson, Joe Ely, The Band, and Johnny Cash. He released nine solo albums between 1990 and 2006, on Transatlantic Records and various labels. Payne returned to Bristol and continued to play with local bands.

The Eagles’ music is available on many compilations of the era, and in 1998 Sanctuary Records released a massive 61-track two-disc compilation set Smash Hits from The Eagles and The Kestrels, by far the most accessible overview of the Eagles’ music today.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2094324558/

Teach the world to sing – Rogers Cook and Greenaway

Britain’s best ever song-writers hail from Bristol, well Fishponds/Kingswood namely Rogers Cook and Greenaway. They used to be David and Jonathan in the sixties, wrote ‘If you like alot of chocolate on your biscuit join our club’ and Cookie formed Blue Mink. Later he went to Nashville where he become the only Briton ever to be inducted into the Country Hall of Fame.

Bristol’s Rolling Stones

Mick and Keith, Brian and Bill and, of course, Charlie were already world-famous as the Rolling Stones, pop music’s favourite rebels, by the autumn of 1965. They’d just celebrated their biggest hit of all, ‘(I Can’t Get No) Satisfaction’ when word came through that a Bristol band were claiming that they, not Jagger, Richards, Jones, Wyman and Watts, were the original Rolling Stones.

And it was all too true. Bristol’s Rolling Stones were the three Stone brothers who’d formed their own skiffle band at the height of the Lonnie Donegan era and played gigs like the Bristol Press Ball in 1957. Skiffle came from American blues music which often featured light travelling heroes described as rolling stones, so it was a good title.

The washboard group had changed their name to the Stone Brothers to avoid confusion when Mick, Keith and co. sprang to fame after taking their name from bluesman Muddy Waters’ classic ‘Rolling Stone’, but the matter still rankled. ‘We have no desire for the Jagger Stones to change their name. We only want to establish that the Bristol Stones are entitled to the name and were the first Rolling Stones,’ the group announced.

Top rock promoter/agent Tito Bums, then representing Mick, Keith and the rest chortled, ‘This would make a wonderful film.’ The Bristol Stones even consulted lawyers, but the matter ended quietly and amicably. . . and almost no one remembers the original Rolling Stones.

In the 1950s, Bill, his brother Ken and an unrelated Stone (Brian) formed a skiffle group. Their father was Moss Stone; not surprisingly, they called themselves The Rolling Stones. On the demise of the skiffle boom, they broadened their repertoire to include country and western . In 1965, there was a legal battle with the other ‘Stones’ which resulted in them being unable to continue with their name. A publicity leaflet for the Bristol Stones band at the time said ‘Bill Stone plays a very fine banjo and can perform equally well Liszt’s Liebestraum or Bye Bye Blues. Bill is a devotee of the great Eddie Peabody’ (an American plectrum style player)

The Pigsty Hill Light Orchestra

The bands who put our city on the map THE Pigsty Hill Light Orchestra, so the story goes, first got together after Fred Wedlock’s 1968 New Year party at Clifton’s much lauded Troubadour Folk Club in Waterloo Street. The "Piggies" as they were affectionately known, derived their unusual name from a specific location up the Gloucester Road – the section that goes uphill from the old Bristol North swimming baths to the turning just before Horfield prison.

Composed of musicians from other local groups the band weren’t in fact an orchestra at all but comparable to Viv Stanshall’s Bonzo Dog Doo-Dah Band or the zany Temperance Seven. John Turner (yes, the radio presenter and newspaper columnist) came from the Downsiders, Barry Back and Andy Leggett from the Alligator Jug Thumpers and Dave Creech from the Elastic Band.

Their music, which has been described as 1920s jazz and blues, actually sounded more jug band. Unbelievable sounds emanated from a collection of hot water bottles, plumbing pipes and the like. With a good dose of comedy thrown in, it all seemed to go down well. A music paper even labelled the "Piggies" the band "most likely to succeed". Things were looking up. With the Plastic Dog agency handling their gigs, a well received album, PHLOP, was released in 1970 on the Village Thing label. This was the year that John Turner left to be replaced by bass player Wild Bill Cole.

The band’s next album, Piggery Jokers, was recorded in Cornwall in 1973, had its distinctive cover put together by artist Rodney Matthews in a unique, self designed font. Now it was Barry Back’s time to call it a day being replaced by Jon "Wash" Hays on washboard. Then Andy Leggett left, too. But the "Piggies" weren’t ready to call it a day just yet. Dave Paskett, Richie Gould, Pat Small and Henry Davies, plus guitarists Chris Newman and Robert Greenfield came on board (plus, on occasion, a fine guitarist called Diz Disley who had tasted fame with folkie guitarist and singer Martin Carthy and legendary fiddler Dave Swarbrick).

All these musicians featured on the next album, imaginatively called The Pigsty Hill Light Orchestra, 1976. The music press were very kind. A Melody Maker hack wrote: "The Pigsty Hill Light Orchestra must be one of the most popular acts on the folk scene. Their spontaneous humour and good time songs have held many an audience anchored to the floor in wonder."

Three years later, despite a loyal following and much touring, the "Piggies" decided to throw in the towel. But still it wasn’t the end. In 1988, the band reformed, by request, to play at Trowbridge’s popular Village Pump Festival.

The gang were so well received and had so much fun that they decided to stay together, add Pat Small and singer Hannah Wedlock (Fred’s daughter) to the line-up and go on tour again. Out of it came yet another album, Back On The Road Again. This was in 1991, the year Jim Reynolds and Dave Griffiths joined the band. The following year, Musical History, a compilation album consisting of a selection of tracks taken from 1968 to 1992, was released.

Barry Back, who had been the driving force behind the "Piggies" reunion, sadly died in 1992 and, shortly after, the band decided to pack up for good. Al Read, in his excellent book about the Granary Club, says that the band’s first single on the Village Thing label, Shake That Thing/ Cut Across Shorty, can be bought for 47p.

The Retreads

One of the better bands was the Retreads, and were constantly booked to play most of the big venues, and played together with some of the bigger names of the time, Hollies, Searchers, Gene Vincent etc etc.

Jim Durcan, rhythm guitar, Derek Martin lead guitar and Ron Chappell on bass guitar, John Watson on drums. The band was soon signed up for Germany and spent a couple of years working the clubs there and under the management of the Star Palast owner Manfred Woitala, but returning every so often to play the Bristol scene.

While in Germany Jim had an accident and left the band, returning to his hometown Dursley in Glos, in the lineup at that time was a brilliant German pianist Jerry B, (Barthold Dunker) who made a great hit with the fans when the band once more returned to Bristol and on a longer tour covering the whole of the south of England.

After years in Germany and a few gigs in Sweden the Retreads returned to Bristol where eventually the band broke up. ( late 1966 ) Ron and Derek stayed in England and John Watson decided to go back to Sweden.

The Corvettes by Dark Haloun

I joined the corvettes as lead guitarist after Dave Fahy and Ray Truscott left for richer rewards. Steve Thynne had taken over as singer and rhythm guitarist. Geoff Fothergill played bass and Dave " Bocker" Box was on drums. We played most of the halls round Bristol and the villages within a fifty mile radius. Didn’t do much for my uni studies but it was fun.

Strictly a covers band, but weren’t they all back then. Alan B Williams drove the van and acted as roadie. He was chronically late, and we always told him that we were starting an hour before we really were. Geoff tried to teach me to drive in his Morris Minor, though without much success. When Steve moved on we got Alan Dale in as singer and Mike Morley( I think, memory is not what it used to be) on rhythm guitar. We discovered that Alan could sing a strong falsetto and started to do three part harmonies: Beach boys, Four seasons. It was a point of difference given that there were so many bands doing the same stuff. I was transferred to London and left the band in the mid-sixties.

Kinda lost touch with the guys after that. In 1973 I moved to Perth in Western Australia with my Aussie wife. Played in several bands over the years. For the last four years I’ve played lead in a sequenced trio, still doing the old fifties and sixties stuff. At 75 years of age it gives me an interest and keeps me off the sreets. Sorry I have nether photos nor memorabilia of the band but the memories remain undiminished. Dark Haloun

Anyone out there name any more ?

Email [email protected]

Can you Help ?

Does anyone remember the Glen Ballroom, Locarno, Dug Out, The Granary Club, Town’s Talk, Corn Exchange or any 1960s clubs or dance halls in Bristol?

The Glen

I’ve tried to find info & Pictures of it but no luck so far. We used to go ballroom dancing there back in the 60’s. There was a club attached to it but you had to be 18 to get in, they played rock ‘n’Roll their as apposed to the ‘Proper’ dancing in the ballroom.

Does anyone know if any of the Discs a gogo programmes were kept by the old TWW company.I would love to see us doing the Bristol Stomp again!

Anyone have any memories of the Mods & Rockers era and the coffee bars or the local West Coast Hells Angels in Bristol back to a time when British built motorcycles ruled the road ?

As a 51-year old Brisolian stuck in a 1960s timewarp, how many people recall the Monday night sessions between 1966 and 1968 at the then New Bristol Centre in the Locarno ballroom? (sadly now demolished) As I recall, this was THE place in Bristol at the time for 14-18-year-olds, with the entrance fee being 3s 6d for a session from 7pm to 10.30pm.

Records were provided via DJ (anyone recall names?) and there were two bars, The Bali Hai, where if you could stand tiptoe and lower your voice, you might get served with a half of cider by a waitress in a mock grass skirt!

Music was generally Top 30 stuff with a sprinkling of rarer Stax, Atlantic and Motown items which kept the Mods happy, and I am sure many a long-term relationship was started on the dance-floor.

Luckily, prior to demolition I was allowed in, and now am the proud owner of the Bali Hai mock Totem Poles which adorned the entrance to the bar, and also the sign from the Gents Stag Room – my partner thinks I’m crazy!

Chris Powell, Bradley Stoke

Danny Clarke and the Jaguars, Dean Prince and the Dukes, Jonny Slade and the Vikings, Mel Taylor and the Trek a beats, Dee Stars Predictions, A J and the others. The Road Runners.

The Quad. Mark Roman and the Javelins , Franklin big six, The Exiles, Mike Starr and the Citizens. The Blue Sound. The Lincolns, The Travellers The Concords The Ramrods. Dale Martin and the Mysteries. The Retreads The Strange Fruits The Burlington Berties. Venues the Vic rooms Carwadines Cool for cats (Yate) Bath pavilion the Corn Exchange the all nighter and all the church halls.

www.flickr.com/photos/brizzlebornandbred/5165126654/

Mods and Rockers

Email from Chris Powell to me: I was a 17 year old Mod living in St George/ Hanham at the time (1968/9). Most of us rode Lambrettas or Vespas, and The Rockers (or Greasers as we called them) rode old Vincents or Triumphs.

Generally there wasn’t any problems although it did kick off big time in the Summer of 1969 around the Centre- there were running battles for 2 or 3 nights and anyone on either a scooter or motorbike was considered "fair game"

A meeting was arranged on College Green between the Pascoe brothers (Willie and Angellino?) who were the "Ace Faces" in the Bristol Mod movement, and the leaders of the Rockers (names N/K)- there was the customary handshake and peace reigned thereafter. In all honesty, most of the "trouble" was built up by the media, as mainly Mods and Rockers were good friends. Indeed, I still have Lambrettas to this day and occaisionally meet Rockers of that era whilst out and about and chinwag over the good old days!

Main "Mod" places were- The Locarno; The Top Rank; The Never on a Sunday Cafe in Fairfax Street: Aunt Gemimas; Coke and Clobber; Beau Brummels on The Centre; The Weigh Inn (spelling) on College Green.

The Rockers used to hang out at The Starsreach Cafe in Staple Hill.

Posted by brizzle born and bred on 2007-12-08 14:55:08

Tagged: , 1958 , 1962 , 1966 , 1984 , 1963 , pacemakers , wurzels , ambrosia , adge cutler , cook greenaway , al read , nailsea , pye records , banner , dodd , pete budd , wedlock , spanish , beatles , corn exchange , bath pavilion , pigsty hill , eagles , sweet , towns talk , tww , johnny carr , johnny tillotson , kaiser keller club , blue mink , granary club , rock band , sandra mccann , sixties , spain , stevie wonder , del shannon , andy perrott , bristol comets , lulu , dionne warwick , mike tobin , chet triumphs , cadillacs , Merseybeat , Beat Boom , Billy J Kramer and the Dakotas , Johnny Slade and the Vikings , Dean Prince and the Dukes , Chinese Jazz Club , Bristol Corn Exchange , Devon , Somerset , Bristol-Music-&-Arts , Acker-Bilk , The Corvettes by Dark Haloun

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Families can also enjoy the urban trail systems (ci.st-joseph. Cfm) in St. Joseph, by taking a hike or riding their bikes along the miles of trails connecting area parks, schools and neighborhoods. . Local and Regional Driving Tours:St. Joseph has organized 7 local and regional driving excursions, from Civil War and Jesse James, to Public Accessible Art and Downtown Architecture. You may even find a driving tour from St. Joseph, along Highway 36, the Way of American Genius, all downloadable from our website or for pick-up at our Visitors Centers.

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Joseph ranks well for amenities (A+) and cost of living (A-). On a less positive note, St. Joseph doesn't have favorable grades for the following: offense (F), education (D), employment (D) and home (F). If we take a look at the data, we can find out why. Location, location, location - perhaps the three most important words in your search for a new place to call home. It has picnic areas, playgrounds, an Italian castle, along with other amenities. The Black Archives Museum has exhibits to educate visitors about the Underground Railroad, desegregation and other subjects related to black history. YMCA Activities Check out all the St. Joseph YMCA (stjoymca.org) must offer kids in the area. Children can attend day camps, resident camps and just a boot and saddle camp.

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St. Joseph, nestled along the Missouri River in northwestern Missouri, is Called the beginning location of the Pony Express. Today, this busy city is home to more than 76,000 residents. There are a variety of activities that parents can do with their children in St. Joseph throughout the year. With useful information like amenities, cost of living, employment and other important data points, finding the best places to live in St. Joseph and in the areas around St. Joseph is a much easier task. Using statistics and data St. Joseph has obtained a livability score of 66/100. This score is ranked in the 46th percentile compared with other cities. Fun atmosphere (its inside an old train depot). Friendly waitstaff. What else can you ask for When you sit down, you get a disk thats green on one side and red on the other to signal servers. -LRB-269-RRB- 983-4743; silverbeachpizza.com

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Kids will learn about the Pony Express through hands-on, interactive activities. There are special events planned throughout the year, such as Pumpkin Fest and Days of the Pony Express. You can also visit one of the other Saint Joseph museums (stjosephmuseum.org). St. Joseph Museum features the natural and cultural heritage of the city. Joseph is the affordable commute times to work. With an average one way commute time of 16 minutes, getting to work is faster than the national average of 26 minutes. Whether youre moving to a new city to be closer to family, friends or to get a new job, living in St. Joseph, there is no shortage of amazing local amenities and interesting things to do. Certain items on your wish list such as shopping, restaurants, nightlife and proximity to public transportation are all critical factors to look for.

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The Boulevard Inn and Bistro The all-suite hotel overlooks Lake Bluff Park and downtown St. Joseph. Family and two-bedroom suites accommodate travelers with children. -LRB-800-RRB- 875-6600; theboulevardinn.com

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Thorntons Home Town Cafe The standby breakfast joint serves Bobs Big Bomb. Eat the giant omelet filled with corned beef hash, sausage, bacon, ham, mushrooms, onions, peppers and cheese, and you get your name on the wall of fame. South Bend Chocolate Company This downtown spot is part candy shop, part coffeehouse and part ice cream parlor. -LRB-269-RRB- 985-9866; sbchocolate.com It's picnic areas, playgrounds, an Italian castle, and other amenities.

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Joseph is the reasonable commute times to work. With a typical one way commute time of 16 minutes, getting to work is faster than the national average of 26 minutes. Whether youre moving to a new city to be closer to family, friends or to get a new job, living in St. Not only will your child learn the basics of each sport, he'll also learn about working as a team and how to be a fantastic sport. Student enrichment programs are provided to children as well, to encourage children's character development and build positive social skills. www.facebook.com/KCChiefsin St Jo will have regular, timely updates and info on 2013 camp. Local and Regional Driving Tours:St. Joseph has organized 7 local and regional driving excursions, from Civil War and Jesse James, to Public Accessible Art and Downtown Architecture. You can even find a driving tour from St. Joseph, along Highway 36, the method of American Genius, all downloadable from our site or for pick-up at our Visitors Centers.

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With useful information like conveniences, cost of living, employment and other key data points, finding the best places to live in St. Joseph and in the regions around St. Joseph is a far simpler task. Using statistics and data St. Joseph has received a livability score of 66/100. This score is ranked in the 46th percentile when compared to all other cities. Living in St. Joseph, MOSt. Joseph is a mid-sized city located in the state of Missouri. The city has a population of 76,901 residents. If we look at the latest Census, St. Joseph is known to have a predominantly White population. The next two most common races are Black and Asian. Joseph ranks very well for amenities (A+) and cost of living (A-). On a less positive note, St. Joseph does not have positive levels for the following: offense (F), education (D), employment (D) and home (F). If we have a look at the data, we can learn why. Location, location, location - possibly the three most important words in your search for a new place to call home.

Examine This Report on St. Joseph Mo

Piggin N Grinnin Judges on the Midwest barbecue circuit understand this Benton Harbor place because of its award-winning ribs. We advocate the trio of meats and sides at the Big Mama Sampler. -LRB-269-RRB- 934-7675; piggin-n-grinnin. com Bar and bread by Bit of The pastries resemble masterpieces in artsy Benton Harbor. Grab-and-go sandwiches make the perfect decoration. -LRB-269-RRB- 757-7219; breadbarbh.com Families can also enjoy the urban trail systems (ci.st-joseph. Cfm) in St. Joseph, by taking a hike or riding their bicycles along the miles of trails connecting area parks, neighborhoods and schools. .

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Schus Grill and Bar A dining establishment, with some outdoor lakeview tables, is famous for great burgers and potato soup. -LRB-269-RRB- 983-7248; schus.com This 13,000-square-foot facility displays natural animal habitats, including a real beehive, a beaver dam and a 7,000-gallon aquarium full of native fish species. Your child can take a look at the fossil and stone screen or the humongous woolly mammoth. Kids can also take part in events, like a monthly scavenger hunt, craft times, fish feeding frenzy or eagle watching. The Black Archives Museum has exhibits to educate visitors about the Underground Railroad, desegregation and other subjects related to black history. YMCA Activities Check out all that the St. Joseph YMCA (stjoymca.org) must offer kids in the region. Kids can attend day camps, resident camps and just a boot and saddle camp.

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Joseph is real estate affordability. Median real estate costs in St. Joseph come in at $103,500, which is 26.7% lower than the Missouri average. The house price to income ratio compares the median home costs to the median household income. In St. Joseph, the home price to income ratio is 2.4, which is 17.2% lower than the Missouri average. Kids will learn all about the Pony Express through hands-on, interactive activities. There are special events planned throughout the year, such as Pumpkin Fest and Days of the Pony Express. You can also see one of the other Saint Joseph museums (stjosephmuseum.org). St. Joseph Museum features the natural and cultural history of the city. Joseph Museum. Kansas City Chiefs Summer Training Camp Chiefs Training Camp Slated to begin the last week in July, the Kansas City Chiefs have called St. Joseph their summer home for the last 3 years. With the changes last season, expect some changes at camp this season, including fully padded practices and more opportunities to get up close and personal with your favourite players. Camp is located on the grounds of Missouri Western State University.

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Silver Beach Pizza Good pizza. Interesting atmosphere (its inside an old train depot). Friendly waitstaff. What else can you ask for When you sit down, you get a disk thats green on one side and red on the other to indicate servers. -LRB-269-RRB- 983-4743; silverbeachpizza.com Joseph, there is no shortage of amazing regional amenities and interesting things to do. Here are some of the more popular things to do in St. Joseph: Patee House Museum, Pony Express Museum, and Glore Psychiatric Museum. Certain items on your wish list like shopping, restaurants, nightlife and proximity to public transport are all important factors to look for. St. Joseph, nestled along the Missouri River in northwestern Missouri, is Called the beginning location of the Pony Express. Today, this busy city is home to more than 76,000 residents. There are an assortment of activities that parents can do with their kids in St. Joseph throughout the year.

How St. Joseph can Save You Time, Stress, and Money.

The Inn at Harbor Shores Access to the golf course, a spa, and marina make the 92 lakeview rooms in St. Joseph all the more appealing. -LRB-269-RRB- 983-1111; innatharborshores.com With 13 museums you can surely find something interesting to do during the dog days of summer. Enjoy the Pony Express Museum, dedicated to the 1860 mail support, The Patee House Museum, a glorious hotel turned 19th century museum, and next door find Jesse James Home, where Jesse was shot by Robert Ford on April 3, 1882. Joseph; 816-271-5500) for some water fun in the summertime. There is a zero-depth beach entry area and a lazy river for your and your child to float . Smaller kids can splash and play in the kiddie or play area, with interactive water spray features. There is a cascading waterfall to swim under and two giant enclosed water slides for a few thrills.

Getting The St. Joseph Mo To Work

Smith, named after Colonel Robert F. Smith, was erected in late September 1861 as a shield against conflicting armies fighting on both sides of the state line. Now, Fort Smith Park includes 3 full scale authentic reproduction cannons, restored redoubts, a lookout point, interval flags, educational signage, and an ordinance shed displaying examples of various kinds of artillery shells used during the battle. The fort is a passive park, where visitors can come, relax, picnic and see a wonderful view of the city and beyond. The Grand Opening is scheduled for Friday, June 28, and after that date will be open 9am - 5pm, 7 days a week, April 16th - October 14th.

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Weekend music picks: Large times with Lyle Lovett, RAS Day, Hot Sauce and more

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Weekend music picks: Large times with Lyle Lovett, RAS Day, Hot Sauce and more

August 21, 2018

These live music events are worth braving the heat for.

OUR TOP PICKS

Lyle Lovett & His Large Band at ACL Live on Aug. 25, 2016. Photo by Suzanne Cordeiro for American-Statesman

Friday: Lyle Lovett & His Large Band at ACL Live. Might there be a new record from Lovett coming soon? It’s been six years since his last one, 2012’s “Release Me.” No word yet on more new music, but in the meantime, he’s been a reliable regular visitor to ACL Live with his much-loved Large Band. One thing he hasn’t done there yet is tape “Austin City Limits” since the show moved downtown; he did the very last taping at the old KLRU Studio 6A digs, and overall has appeared on the show more than a dozen times. This appearance is a standard concert and not a taping, but if and when another album does arise, a TV-show slot seems a sure bet. $49-$99. 8 p.m. 310 Willie Nelson Blvd. acl-live.com. — P.B.

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Saturday: RAS Day at Kenny Dorham’s Backyard. Cerebral R&B artist/activist/poet Saul Williams leads a bill that also includes powerful NYC rapper Nitty Scott, Afro-Brazilian dance duo Gato Preto and local electro-tribalists Trouble in the Streets. But the family-friendly Eastside get-down hosted by husband/wife hip-hop team Riders Against the Storm is about much more than music. There also will be workshops in yoga, martial arts and swordplay, a vibrant vendors market, a children’s market and a silent Afro-fit disco. And, of course, Riders Against the Storm will perform. $25 ($30 with Friday night Body Rock party at the North Door). 3 p.m. gates. 1106 E. 11th St. rasdayfest.com — D.S.S.

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Saturday: “Stand With Russ” benefit at Antone’s. Russ Hartman, editor of the local ‘zine Austin Daze and longtime Austin music die-hard, needs a new wheelchair and the bands he’s spent decades supporting are chipping in to help. The new chair will allow Hartman to stand (and dance with all the ladies, he jokes on Facebook). The power bill features Latin funk all-stars Brownout, their acid washed sister act, Money Chicha, the Guy Forsyth Band, Greg Izor and more. They also promise special guests all night long. $25.7 p.m. doors. 305 E. Fifth St. antonesnightclub.com — D.S.S.

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Sunday: Belle Sounds, Ali Holder at One-2-One Bar. Part of the South Lamar venue’s new “Wonder Women Afternoon Listening Sessions” series with host Barbara Nesbitt, this double bill teams two notable Austin acts for music and discussion. Singer-songwriter Holder’s Americana-oriented music has been featured on three albums since 2012, including last year’s “Huntress Moon.” There’s more of a pop slant on the new record “The Sea Within” from the Belle Sounds, which features Noelle Hampton and Emily Shirley as well as Hampton’s husband, ace guitarist Andre Moran. $15-$20. 3 p.m. 1509 S. Lamar Blvd. one2onebar.com. — P.B.

Little Joe y La Familia at SXSW 2018. Tom McCarthy Jr. for AMERICAN-STATESMAN

Sunday: Hot Sauce Festival at Fiesta Gardens. The salsa might be the hottest thing at this annual benefit for Central Texas Food Bank, but the Austin Chronicle has assembled a solid musical roster that will also bring the heat. The bill is anchored by five-time Grammy winner Little Joe y La Familia. It also includes performances from cumbia/salsa band El Tule, rockers Altamesa, DJ collective Chulita Vinyl Club and more. $5 donation to the food bank. 11 a.m. gates. 2101 Jesse E. Segovia St. austinchronicle.com/hotsauce — D.S.S.

ALSO PLAYING

Friday

Kansas at Nutty Brown Amphitheatre

Papadosio, Higher Learning, Ryan Viser at Mohawk outdoor

Bruce Robison & Kelly Willis, Jomo & the Possum Posse at Antone’s

Body Rock ATX tribute to Michael Jackson at the North Door

Levitation screen print pop-up with Annabelle Chairlegs at Volcom Garden

Motograter, Band of Julez, Crowned at 3Ten

Walter Beasley at One World Theatre

Mike Flanigin Trio with Jimmie Vaughan & George Rains, Rosie Flores Revue at C-Boy’s

Dossey, Signy at Empire

Papadosio at Mohawk indoor

Boyfrndz, Megafauna, Think No Think at Barracuda

Otis Wilkins EP release, Blood Pumps, Little Mazarn at Stubb’s indoor

Wrenfro, Blues Specialists at Continental Club

Croy and the Boys at Hotel Vegas

Los Skarnales at Flamingo Cantina

Ray Prim Quartet, Natalie Price at Townsend

Cari Hutson & Good Company album release at One-2-One Bar

Churchwood, Pong at Sahara Lounge

Toni Price at Threadgill’s North

Extreme Heat at Threadgill’s South

Renee Austin, Denny Freeman at Saxon Pub

Saturday

Wiz Khalifa, Re Sremmurd, Lil Skies, O.T. Genasis at Austin360 Amphitheater

Badfish (Sublime tribute), Full Service, Audic Empire at Stubb’s outdoor

Marcus King Band, Bishop Gunn at Mohawk outdoor (sold out)

White Denim at Mohawk indoor (two shows, both sold out)

“Beto Days Ahead” fundraiser with Quiet Company, Eric Tessmer, Harvest Thieves, Western Youth, Lowin, A. Sinclair, Ben Ballinger, Ali Holder, Curtis Roush, more at Cheer Up Charlie’s

Wuki at Empire

Flatland Cavalry, Kody West, Shotgun Rider at Scoot Inn

Will Taylor & Strings attached play Joni Mitchell at Townsend

Zoso (Led Zeppelin tribute) at 3Ten

Temple of Angels at Hotel Vegas

Federico7, Zoumounchi at Sahara Lounge

Twrp with Planet Booty at Barracuda

Hail Marley, Ter’rell Shahid at Flamingo Cantina

Mike Flanigin Trio with Jimmie Vaughan & George Rains, Soul Man Sam at C-Boy’s

Johnny Nicholas & Hell Bent, Bobby Whitlock & CoCo Carmel at Saxon Pub

Booze Weasels, Garrett Lebeau at Continental Club

Albert & Gage Band at Donn’s Depot

Sunday

Ana Popovic at One World Theatre

Antone’s Record Shop 31st anniversary with Nakia & the Blues Grifters, Damn Times at Antone’s Record Shop

Katie Herzig, Sawyer at 3Ten

Resentments, John Gaar at Saxon Pub

Savage Poor at One-2-One Bar

Peterson Brothers at Hilton Cannon & Belle

The Millbrook Estates at Hotel Vegas

Bells of Joy at Threadgill’s South