The Leicester City Football Club victory celebrations
This is likely to be a large article. For that reason, I am publishing the first draft and will then update it as research results comes in and as I work through various issues. It will be useful to make it available on the Internet to aid dialogue with others, rather than waiting until the whole piece is finished. This article is, therefore, work in progress.
Article published from 18th May 2016
The LCFC victory parade and celebrations of May 2016
Monday 16th May 2016 was the day on which Leicester celebrated Leicester City Football Club’s winning the Premier League Trophy. I was there on Victoria Park watching the post-parade show and now I am writing about this event as a local historian. I have a range of other interests in it as a social movement; I do not have an interest in it as a football fan (which I am not.)
This article considers the significance of the victory celebrations, from both social and historical perspectives and draws in narratives about mass observation and the methodologies of local history. The article will look at the wider context of the event as part of a discussion of its significance.
The victory celebrations were also important as a media event. Some of my work will be to look at how the world’s media covered the event and (to a lesser extent) the world media coverage that Leicester had for the Premier League win as a whole. This forms part of the narrative of local history.
Social movements and migrations
Yesterday (16th May) was not a social movement; neither was it a migration. Having said that there are aspects of the whole event that share characteristics in common with social movements per se and with migration as a movement of people.
It is said in the media that 250,000 people were “on the streets of Leicester” to celebrate the LCFC victory. I would like to work out what proportion of those people were residents with LE postcodes compared with those who came into the city from the county of Leicestershire and from further afield. Slight anecdotal evidence suggests that large numbers of people came into the city by train; some of these might have started at stations in the county but it would be interesting to know what level of traffic came into the city from outside the county. The hypothesis here is day that the day was a national event.#edit
Migration is not the best word to use in this context. Movement of people might be an alternative phrase, if only because the era in which we are living is seeing one of the largest movements of people in the history of the world. This is about migration of millions of people from one country to another. This might not seem relevant to the event in Leicester but it provides a bigger picture about the ability of people to move around, access transport and find out what is happening where and when. Movement of people, travel, transit and attendance is a subject worthy of study.
The route of the event was publicised some days before the parade took place #edit The announcement of the location of the festival on Victoria Park however was given out only a couple of days before the parade. #edit. I use the word ‘festival’ to denote the mass gathering on Victoria Park that took place after the victory parade through the city centre; it was rather like a festival – having a main stage and several music acts.
This section focuses on the mass movement of people in geographical terms.
Both sociologists and historians use mass observation as a method for capturing data about events. I will try to find out if there was an organised mass observation of yesterday’s celebrations. #edit
What surprises me is that I knew that this event would happen right from the word go; although I had enough time to organise around it I did not do anything in advance. I could have brought together a team of people to gather mass observations on the streets during the event. I have organised mass observation projects before, in Leicester, but it did not occur to me to organise such a project for this event.
I will however search for any other projects that treat this event as an opportunity for mass observation.
What would we expect to gain from a mass observation of the victory parade? Quite a lot, actually. Even just me being there at the park, I saw a lot of things that were significant. Things that were unexpected, that meant something to me as an observer of life in Leicester. This article will eventually contain examples from my own observations and from comments scraped from social media.
One of these significant observations was the multi-ethnic composition of the crowd and presence of many women wearing hijabs. I noticed this and so did other commentators on social media.
The other thing I noticed were street vendors. Someone commented to me that he had seen “unemployed people selling merchandise on the streets.” In his view, many of those selling goods were people who had jumped on the bandwagon to make a fast buck. That is significant. I saw organised vendors setting up stalls from around 10:30 in the morning. Many of the shops along London road had put sales points at the front of the building, open to passers by. At last one restaurant and removed all its furnishings to create a space that could be filled with customers. This tells us something about business and commerce. #edit Micro-enterprise I suggest is something that merits study as part of what happens at large gatherings of people.
Was this the largest public event ever to have taken place in Leicester?
Mass public events have taken place before in Leicester. I remember the two One Big Sunday events that were held on Victoria park, which attracted crowds of around 100,000 people.
The history of Leicester contains accounts of demonstrations, open air meetings, pageants and other events that drew large numbers of people. I will look to see how the size of crowds for past events compares to the numbers who attended in victory celebrations. This will set the event in an historical context.
The re-burial of the remains of King Richard III attracted large numbers of people to Leicester. I observed this event. There are other questions that interest me about the Battle of Bosworth, another large event in Leicester that took place 531 years ago.
How many people were involved in the battle of Bosworth in 1485? How many soldiers fought at Bosworth field? How many people saw King Richard III and his retinue depart from the city and how many witnessed the return of the dead King?
This narrative begins to unravel how events are given significance in historical analyses.
How did such a large number of people find out that this event was about to happen, where it would take place and the time table made for it by its organisers. #edit. What conclusions may be drawn about the size of the crowds lining the streets and at Victoria Park?
-for England and Britain
I have portrayed the LCFC victory celebrations as a national event. It lasted for one day – as many other national events have done and it was focused in just one local area but that is not uncommon for events where the people of Britain mark something that is important for them. Was it a national event? Or, what it simply an event of national significance?
The view from the ground
How did it feel to be there? I spent most of my day walking around the Victoria park area, watching the crowds, the media, observing activities, watching the main stage… how did I feel about that? I plan to write a poem about the event. #edit As a writer I have a fairly wide scope of output, both in creative and non-fiction works.
History is mainly about old documents. But how is current history made? How to today’s historians document things that happen during their lifetimes?
Today’s historians have access to a wide range of media: films, photographs, news reports, comments made on social media outlets, newspapers… a must broader range of source material than was available in the past. How do historians go about capturing contemporary material to form part of a documentation of events and other aspects of history?
Social media produces a tidal wave, a tsunami, of content but it quickly evaporates and can be very difficult to recover. If we scrape Facebook and Twitter for comments, photos and observations we can quickly build up a large-scale picture of an event. We do need to do that quickly because the long it is left the more difficult it becomes to capture.
We might want to analyse such material but if we document it carefully it becomes source material for later historians to use; they might develop a new slant that we not apparent to us now.
Documenting social media
The twenty-first century saw the mass usage of social media both in Britain and in the rest of the world. That made a considerable impact on how people viewed events, happenings, processes, systems, a huge variety of observations and analyses of politics, sport, culture, entertainment, workings of the media, and so on. #edit
Marketing, trade, commerce and merchandising
Mention has already been made (above) of the large number of street vendors present at the event and of the shops, restaurants, bars and coffee houses along the route of the parade. This section focuses on the way that the event was used by a variety of commercial interests to cash-in on the celebrations.
Catering for those who enjoy slurping the faces of their sporting heroes, the “Vardyccino” was dreamt up by coffee shop owner Hamza Bodhaniya of Bru Coffee and Gelato in Leicester. Selling at £2.15 for a regular cup and £2.45 for a large, the Vardyccinno has proved popular with punters.The drink is elevated from being a mere cappuccino by chocolate powder dusted on top in the shape of Vardy’s head and upper body. [Source BBC website]
This is an archive post; it is not current; it’s here for the record.
LEICESTER MUSIC AWARDS
NB: the idea of the Leicester Music Awards was never followed up and nothing was ever done about it. This article won an award: Annual Apathy Prize for 2014.
Should awards be given to celebrate the music of Leicester? This article discusses this question.
First, some background. Society in general celebrates and honours achievements in many ways. The Queen confers honours in the form of OBEs, MBEs and CBEs. Awards and prizes are given in the world of sports, the arts, films and television, literature, science, engineering and so forth.
Second, in the world of music, there are several well-known awards, including the Brits, those given by magazines such as NME and Kerrang and others which celebrate popular music generally. ‘The Barclaycard Mercury Prize promotes the best of UK and Irish music and the artists that produce it. This is done primarily through the celebration of the 12 ‘Albums of the Year’.’ Likewise there are awards made to specific genres of music, such as The Urban Music awards which ‘recognise the achievement of urban based artists, producers, club nights, DJ’s , radio stations, record labels and artist from the current Dance/R&B, Hip-hop, Neo Soul, Jazz, and dance music scene.’
There are awards for classical music, music made by young people, opera, choral music, and so forth. Some awards are given by the big national music industry organisations and some are geared to independent music. The company that manufactures Orange Amps sponsors awards in the world of classic rock as it also does for ‘prog’ music.
These are all national-level awards. At the local level, there are far fewer examples but a few do stand out.
The Liverpool Music Awards ‘honours the heroes of the music industry in our city: not only local musicians, but also those behind the scene, who facilitate and inspire others to create and perform on Merseyside. While the scope of the awards provides opportunity to celebrate musical achievements which have gone beyond the borders of our city, at their core the awards are for those who are currently active in Liverpool.’
In Brighton, the BMA is about ‘Celebrating the best independent music from Brighton and across the region.’
The Manchester Musical Awards honours the world of musicals.
In Nottingham, Nusic selects an artist of the month. The Nottingham Music Awards is about ‘Celebrating the vibrant and eclectic Nottingham Music Scene.’ The Nottingham Music Awards – also known as the Notty’s – will look to celebrate the achievements of the great musicians, singers, promoters, managers and others who play a part in what is a boom time for the Nottingham music scene.’
The giving of awards, prizes and honours is a widespread and long established aspect of human life across all fields of human activity.
Here in Leicester, Arts in Leicestershire published a Band of the Month to highlight the work of local bands and did this from 2008 to 2012. Later Music in Leicester website continued this by publishing a band of the month. Both also published an annual Gigs of The Year article to recognise outstanding live performances.
What would be the benefit to Leicester?
If Leicester was to follow the example set by other local cities and to create its own set of awards for popular music, what might be the benefits?
My stance on this is that there would be two sets of gains: the national and the local. It is possible that local music-markers would enjoy the recognition of receiving a gong for their endeavours and in particular new bands and rising artists could be given a boost and encouragement from such acknowledgements.
More importantly, in my view, there would be benefits for the music community as a whole. The existence of awards for music would boost the notoriety of Leicester as a centre of musical excellence. Many people have commented that music is one of Leicester’s “best kept secrets” and that much more needs to be done to gain acknowledgement of our music at national level.
In principle, such an initiative would confer benefits far beyond the confines of the city. However laudable it might be to recognise and honour musical achievement at the local level, what stands out for me is the celebration of our music at national level.
There are course a lot of dependent factors in this: not least who is selecting and judging the potential winners. Some of the judges would be local people who have followed the various genres of music in the locality but alongside these should be those who bring a wider perspective – people in the East Midlands region and those who know music at a national level. Local people patting themselves on the back might be good but if there is an equally weighted group of people with a wider take on music, who also have a part in honouring the city’s bands and artists, then this gives the whole thing added credibility.
Some awards allow music fans to vote on nominated acts but, in my mind, this counts for less than the judgement of music professionals. At national level, it might well be fine for the public to vote in large numbers for a music artist but at local level voting reduces favour to popularity and the size of an act’s following. That can be fair enough for local competitions, although some have argued that this is inherently unfair because there is no necessary equation of musical ability and local popularity.
If the choice should rest with a panel of industry experts, it is vital that there is a cross-section of backgrounds that reflects the scope of the music scene. If we opt for a generic Music Award (even one that is focussed only on popular music including rock, indie and urban genres and not classical or choral) then the judging panel must draw in those from a wide spread of ethnic and cultural backgrounds.
As with most Awards, there are likely to be categories and prizes that celebrate specific kinds of music-makers, including bands, singers, rappers, instrumentalists and so on. It is possible that certain kinds of music outputs might also be worth honouring, including best recorded tune or song, best lyrics, best music video, best live performance, etc.
Where general Music Awards are concerned, most would want to honour long-established acts as well as emerging new talent. Some scope also exists to honour the music industry that brings their work into the outside world – venues, promoters, recording studios and so forth.
What I personally do not approve of is a competition in which music acts have to perform in a series of heats and semi-finals in order to gain an award. It think it is much better that judges base their approvals on performance over a period of time, look at the live gigs, recordings and output of the acts, basing their assessments on what an act has achieved over time and not on a single series of live gigs.
Is it worth it?
Any award-making initiative depends, for its success, on a range of factors that must be got right at the very start. Who will be chosen to be the judges is the most important factor, but it is also necessary to factor in elements such as sponsors, backers, financiers, publicists and a plethora of people who can contribute to the whole thing being worthwhile and successful. The kudos of being granted an award might be beneficial in itself but if the awards also confers other forms of value – cash prizes, recording contracts, publicity – then people might see it as being more widely worthwhile.
The potential down-side of sponsorship is corporate domination; independent awards avoid the kick-backs from big commercial organisations using the process for their own agendas.
The critical factors are not just who judges but what criteria they use. This has to be transparent. It’s all very well awarding a prize for the ‘best band’ but the value of that is not obvious unless the criteria is very clearly stated.
The worth of a Leicester awards initiative rests, in my view, on what the music scene as a whole gets out of it. It also has to be an annual process in which its value grows year on year.
Today, this blog changes again. Having been the blogsite for Arts In Leicestershire, it now becomes the output for music writer Trevor Locke.
The reason for the change is that both websites are changing and hence I have decided to re-position this blog.
This is partly about wanting to have a platform that is independent of those other things, in which I am engaged, and partly about wanting more freedom and flexibility to publish my writings.
I will still have a desire to write about music and most of that will be connected in some way to my local scene here in Leicester. There will be times when I will want to discuss broader aspects of music and this will allow me more scope to do that.
*when it says ‘this blog’ it was referring to the old GYBO blog, which has been demolished.