Council could lease ghost estate houses

first_imgNewsLocal NewsCouncil could lease ghost estate housesBy admin – March 31, 2011 748 Linkedin Email Facebook WhatsApp SOME houses lying vacant on unfinished estates in the city could be used for social housing, says Cllr Tom Shortt.He told a meeting of Limerick City Council this week that with 3,500 on the city’s waiting housing list, a special case could be put to the Department of the Environment that vacant properties be allocated to the council.“We should be negotiating for the sale or lease of some of these properties – some of them could be used for social housing – we should pursue this,” he urged.Sign up for the weekly Limerick Post newsletter Sign Up Cllr John Gilligan pointed out that the council did not create the problem of ghost estates.“Water and sewerage is essential but we do not have the capacity to go in and finish all of the estates, but Cllr Ger Fahy said that Waller’s Close, which has 10 houses, requires just “some outside works remaining to be completed“As it is, we have vacant houses there which attract anti-social activity and become targeted”.Cllr Joe Leddin recommended that where there is a genuine problem with the provision of water and sewerage, the estates concerned should be categorised in terms of priority and value of the bonds outstanding, which in many cases, would not cover the costs involved.“We must ensure that we, as a local authority, are not out of pocket on this. Is there, I wonder, any provision for us to go in to these estates and carry out emergency works because as it is, we have people living on building sites, with fencing and hoardings torn down, and one unfinished estate has no bond – I thought this was essential to secure planning permission”.center_img Twitter Print Advertisement Previous articlePlea to bulldoze Hyde Road ‘eyesore’Next articleThomond Park to miss out on Inter Milan adminlast_img read more

Modern age musicians

first_imgRecent times have seen seismic movement in the music industry. Mergers, job losses, reductions in artist numbers all point to a fundamental failure in the music industry’s business model. And why?  Technological change, both recording and the Internet, have changed everything, and threaten the industry’s four big players in ways they don’t care to admit. Of course the familiar issue is thatof piracy. Illegal music is shared in vast quantities, with some estimates of around a billion tracks downloaded in the first half of 2005. This obviously has been of great distress to the larger international record labels, and they have deployed PR companies and lawyers to attack first websites and program makers, and then individual file sharers. The real turnaround, however, is coming with legal downloads. While illegal downloads are thought to be at fairly stable levels, legal download revenues have tripled in the first half of the year. They now represent six percent of industry revenues, while CD sales are in secular decline and music revenues are slowly but steadily falling. This success can only continue with more and more people using the Internet and with the ever-diversifying selection of gadgets to play music, including iPods and mobile phones. So, the big labels may ask themselves, is this it? Will we see a turnaround back to the good old days of high sales, albeit in a different form? Maybe sales will recover somewhat. But there is a more fundamental challenge to the status quo on the horizon. This comes not from consumers, but from individual artists. The traditional idea of a record label is a large firm, hiring young talent, providing recording, distribution and promotion, and in return receiving a considerable part of the revenue. The greatest ambition for many young artists was to be signed, because it let them access vast audiences, unimaginable for the sole trader musician. Throw in a load of cheap, home computer technology for production, marketing and distribution, and suddenly it all becomes feasible. Anyone can set up a website and sell their own music, with tiny overheads and complete creative freedom.Mercury nominee Seth Lakeman followed this route. For three hundred pounds he recorded his album of Cornish folk songs in his kitchen (after unplugging the fridge), set up his own label and website, and sold his album to the masses. This type of achievement is by no means confined to the technology- savvy world of Cornish folk music: in the newer industry surrounding rap and R&B the same is true. The winner of the Best Hip Hop Act at the MOBO awards, Sway Dasafo, remains unsigned and chooses to distribute his music himself. While the Internet isn’t as important for distribution, cheap production technology allows him to produce thousands of copies of a mix tape, essentially cutting out the corporate middle man. These two musicians have proved the extent of what you can achieve without the backing of a large and powerful label.At the same time amateurs and new artists are able to put up free downloads and be heard by as many people as can find their site. Already commercial ventures such as run free download pages, aware of the value of such a service. The quality of the free downloads available varies widely from the ludicrous to the sublime and from experimental to retro, but it means that anyone can explore different genres of music like never before. Of course taking this direct route to fans has its limitations. There is no vast marketing machine available to reach every single music lover in the land. But then is there ever? Most of the successful artists (outside pure saccharine pop) tour to make their name. They rely on word of mouth advertising, slowly increasing sales and a good reputation. It’s just how quickly they get up the ladder.It is not just the artists who could benefit from this. Music fans now have arguably their greatest ever choice. Already there is a vast reduction in pop sales, lost to rock, jazz and folk-styled artists. Why should we continue to watch Top of the Pops when we can access whatever we want at the touch of a button? With the live scene on an unprecedented high, there is no shortage of dynamism and creativity in Britain. For the first time these artists have the opportunity to pursue this for themselves. Even if the industry faces challenges, we stand at the beginning of an extraordinary time of opportunity for the young and talented, which can be only be good news for the music-loving public.ARCHIVE: 1st week MT 2005last_img read more

Spafford Invites Jaden Carlson For Sit-In For Sold-Out Denver Show [Video/Photos]

first_imgSetlist: Spafford | Bluebird Theater | Denver, CO | 4/1/2017Set One: Backdoor Funk [1], People, Minds Unchained, Parody > It’s A Bunch, All In [2], Beautiful DaySet Two: Take Your Mama, The Postman > Palisaides > Electric Taco Stand > Leave The Light OnEncore: Galisteo Way > Electric Taco Stand[1] Mike’s Song fake out intro, [2] With Jaden Carlson, Spafford and Mungion made their way to Denver, Colorado, over the weekend, performing at The Bluebird Theater on Saturday. I was lucky enough to make it to their Saturday performance, a sold-out show that packed the Bluebird. As someone who had never seen Spafford live before, I wasn’t entirely sure what to expect; while I’ve met many self-proclaimed Spaffnerds, I’d never previously taken the time to get a true sense of what the band is all about. I realize that was a mistake now, following the smokin’ Saturday show.To kick off the night, Spafford started out their April Fool’s show with the opening riffs of Phish’s “Mike’s Song,” a power move that had the crowd roaring at the start of their set before the band quickly but decisively dropped into “Backdoor Funk,” with guitarist Brian Moss grinning and announcing “Gotcha!” From this quick transition on, the members of Spafford were truly dialed into one another, treating the audience to a consistently tight performance.As this was my first show, one thing that stood out was the group’s remarkable ability to change their sound on the drop of a dime without the transitions feeling jarring or abrasive. The range of the genres they covered during the show was expansive, with jams infused with nods to reggae, funk, classic rock, metal, and jamtronica throughout. What’s interesting about Spafford and what sets them apart is that they distinctly honored each of these sounds, with a given jam dropping from a frenzied, shred-heavy climax into a funky bass-driven groove with decisiveness and clarity.Evidenced throughout the night was also the fact that Spafford draws inspiration from a bunch of other jam bands on the scene; however, while this is probably true of many jam acts, Spafford made clear these musical influences. After the “Mike’s Song” tease, the jam segment of “Backdoor Funk” settled into a smooth and laid-back, electronic-tinged groove reminiscent of the Disco Biscuits, with Red Johnson on the keys leading the way with his cascading synth. Later in the show, as the band jammed from “Parody” into “It’s A Bunch,” you could clearly hear the influence of Umphrey’s McGee calculated prog-rock imbued at points into the improvisation.Halfway through the first set, Jaden Carlson, the Boulder-based prodigy, joined Spafford for a take on “All In.” Carlson dropped a number of soaring guitar solos in between verses of the triumphant song before the song’s improvisational section, which mediated between more fluid segments emphasized by tumbling guitars and forceful rock-fused recapitulations. Following the song’s end, she departed the stage to thunderous applause, leaving Spafford to continue to do their thing on the track “Beautiful Day.”Seeing Spafford on Saturday was a treat, leaving no doubts as to why the band has been so steadily moving up the ranks of jam bands on the scene. While other bands may try to take all their various influences and mesh them together, Spafford celebrated a diversity of genres while putting their own special twist on them. Many groups mumble but Spafford enunciates, and it’s clear that their fans love them all the more for it. Plus, the group was beyond tight, with the high-caliber musicianship of their members allowing them to pull off such a range of styles in a way that was not just effective, but also refreshing.You can check out photos from Saturday’s show below, courtesy of Peter Wallace. You can also watch a video of Jaden Carlson and Spafford during “All In” below, courtesy of the Jaden Carlson Band. Spafford continues their tour through to the summer, with a bunch of dates across the Midwest and East. You can check out their website to see if they’ll be hitting a town near you. Load remaining imageslast_img read more