ANTIPOLO CITY — The jersey swap ritual has long been observed in the Philippine Basketball Association. But there nothing was quite like the one shared by San Miguel Beer’s Marcio Lassiter and Terrafirma’s Alex Cabagnot on Friday at Ynares Center here. “That’s my ‘Splash Brother,’” a smiling Lassiter told reporters on his way out of […]
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MANILA, Philippines-San Miguel Beer couldn’t have found a better import than Cameron Clark. Clark has been “perfect” for the Beermen, as far as coach Jorge Gallent is concerned. True enough, Clark has led San Miguel to a dominant 3-0 start with an average winning margin of 20 points. “[He’s] perfect. He does everything for us. […]
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The US Department of Homeland Security (DHS) is planning to raise touring visa fees for foreign acts by more than 250 per cent.
READ MORE: Brexit – UK government warned musicians and crew “could find themselves unemployed en masse”
DHS has written in its proposal that applications for a P visa, which is for acts arriving in the US to perform temporarily, would increase from the current rate of $460 (£375.23) to $1,615 (£1,317).
The O visa, which is a longer term work visa, would jump from $460 (£375.23) to $1,655 (£1,349).
Both increases include a $600 (£489) surcharge to fund the US government’s asylum program.
The proposed hike for the O visa puts it at a 260 per cent jump. The fee for P visa, meanwhile, marks a 251 per cent increase.
Tamara Lindemann of The Weather Station. CREDIT: CBS This Morning (via YouTube).
According to the DHS, the increases are needed due to high demand and insufficient staff at the Citizenship and Immigration department.
Some Canadian acts have spoken out against the proposed changes, citing it being “a huge hardship to pay such high visa fees”.
The Weather Station‘s Tamara Lindeman said on Twitter: “If you are a US citizen or Organisation, please make an official comment on this – instructions below – For context we already spend thousands of dollars just on visas to enter the US; it’s the only country we tour to with these prohibitive visa costs.”
If you are a US citizen or Organization, please make an official comment on this – instructions below –
For context we already spend thousands of dollars just on visas to enter the US; it’s the only country we tour to with these prohibitive visa costs. https://t.co/m5AASHEctJ
— The Weather Station (@TheWeatherStn) February 2, 2023
Lindeman wrote in a subsequent tweet: “It’s a huge hardship to pay such high visa fees, in addition to a 30% withholding tax when we play in the US. It is hard enough to make money on tour as it is.”
In an email to Stereogum, Tom McGreevy of Ducks Ltd. said: “This is a pretty big deal for bands from other countries, as it’s a significant burden on newer bands especially, but is also something that would impact American audiences in a significant way, as it’s going to discourage an awful lot of bands from touring and taking the first steps in building an audience here.”
Additionally, DHS recommends limiting each visa application to a maximum of 25 individuals. If the number of people in a group exceed that number, a separate application will be required.
Wolf Alice. CREDIT: Jenn Five
Elsewhere in the documents, DHS said that longer timeframes for premium processing should be considered. The service, priced at $2,500 (£2,039), currently takes 15 calendar days but a suggestion has been made for it to be reduced to 15 business days.
In 2020, DHS proposed increasing fees by 50 per cent and other measures but those changes never went into effect. The last time artist visa fees rose was in 2016.
US citizens who wish to comment on the proposed changes can do so via the Federal Registry here.
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MANILA, Philippines-Troy Rosario is set to make his PBA Governors’ Cup debut on Saturday when Blackwater faces Meralco at Ynares Center in Antipolo City after being sidelined by an injured foot dating back to the previous conference. The Bossing placed Rosario on the active roster ahead of the contest which will see them try to […]
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ANTIPOLO CITY — Still licking its wounds from a meltdown, TNT on Friday night made sure it won’t suffer a repeat of that disaster by holding off hard-fighting Magnolia, 93-85, at Ynares Center here. Roger Pogoy put up 20 points and five rebounds while Calvin Oftana, Mikey Williams and import Jalen Hudson all finished with […]
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Gary Glitter has reportedly been freed from prison after serving half of his jail sentence for abusing girls.
The disgraced glam rocker, 79, served half of his 16-year sentence for sexually abusing three schoolgirls, PA reports [via Sky News].
The news agency writes that the child sex offender left HMP The Verne – a low security category C jail in Portland, Dorset – earlier today (February 3). He is now subject to licence conditions.
Glitter, whose real name is Paul Gadd, was jailed for 16 years in February 2015 after being found guilty of abuse offences dating back to the ’70s and ’80s.
A spokesperson for the Ministry Of Justice told PA last year when rumours of his early release began circulating that sex offenders released from prison “are closely monitored by both the police and the Probation Service and may be recalled to jail if they breach their strict licence conditions”.
Gary Glitter. Credit: Getty Images.
Gadd had several chart hits in the ’70s and preyed on his victims at the height of his fame.
He attacked two girls, aged 12 and 13, after inviting them backstage to his dressing room, and isolating them from their mothers. Gadd’s third victim was less than 10 years old when he entered her bed and attempted to rape her in 1975.
In 2015, Glitter was sentenced for attempted rape, four counts of indecent assault, and one of having sex with a girl under 13. Sentencing, Judge Alistair McCreath said that there was “no real evidence” that Gadd had atoned for his crimes.
The singer was previously convicted in 1999 for possession of child pornography and served four months in prison. After his release he relocated to Vietnam, where he was subsequently convicted for child sex abuse offences.
The news follows the rights holders of Glitter‘s musical back catalogue confirming in 2019 that he would not personally receive any royalties from the use of his 1972 song ‘Rock and Roll Part 2’ in the film Joker.
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Grassroots music venues from across the UK have spoken to NME about the “perfect storm” they face from the cost of living crisis, Brexit, cancelled shows and music fans’ last minute decisions on showing up – as well as their vigilance and confidence as “the best places to see new art right right now”.
As well as being Independent Venue Week, this week also saw the Music Venue Trust launch its 2022 annual report, laying out the value of the sector to both the UK economy and the music industry as well as the grave danger that venues and the UK face without urgent action. As it stands, the latest figures show that audience numbers were at 89 per cent of their 2019 level at about 21million.
Gareth Barber is the venue owner and promoter, as well as a band manager, at Esquires in Bedford. Speaking to NME, he described the “perfect storm” facing smaller gig spaces across the UK.
“COVID’s not gone away, everyone’s feeling the pinch, there’s a cost of living crisis and people are generally more apathetic to going out,” he said. “Plus, the way the country is being run is depressing and everything going on outside of the country is depressing too.”
Speaking of the difficulty in selling tickets that Esquires is experiencing, he said: “Generally, you’ll shift a load at the start, then you’ll stall, then sell more in the last week and sometimes you’ll double your attendance in the last 24 hours. That means it’s really hard to plan and budget. That causes its own stresses.”
Asked if they led to venues being less confident in taking risks on putting on newer artists, he replied: “Some of the promoters that work in the venue have become more cautious. Some will veer towards shows that we’re not particularly excited about like tribute bands, for example, but that only makes up a small fraction. We have put on newer bands like Fake Turins and Regressive Left. We’ll always do that, but it’s harder to get people excited because people seem to want to go to gigs where they know what they’re going to get.”
Barber also spoke of how the sheer cost of touring meant that bands were becoming less likely to play outside of major cities.
“I know there are bands who are holding back on tours and reducing dates,” he said. “That’s another problem that’s more longer-term. You only have to go back a few years to when record labels stopped givings bands as much money to finance the tours. That means tours become A-markets and you don’t get regional dates. We’re a regional venue. It’s not a new problem, but on top of everything else, it’s an added problem.”
Admitting that “gone are the days when tickets cost £5”, Barber added that many gigs are run “for free or at a loss” to keep prices as low as possible without risking “devaluing what the experience is worth”.
He added: “Just support your local venues; it’s as simple as that. These venues are rare spaces, they’re closing fast and they’re under threat. Go out and take a chance on something.”
Dan Maiden has been the owner and promoter at The Fiddler’s Elbow in Camden for 25 years. Speaking of the acute issues facing his venue today, he said: “There’s been a drop in ticket sales. We’re not getting the crowds in that we used to get”.
“Pre-COVID, we had our biggest calendar,” he told NME. “I only had seven or eight empty days for the whole year, then COVID hit. In 2020 I was rammed in a way I’ve not seen in 25 years, then during COVID, we obviously dropped down to zero, then we had a massive spike of being busy again until COVID hit again at Christmas, then we dropped down to nothing to close the doors, then another spike before a massive deterioration.”
He continued: “One of our main problems isn’t just people not coming, but it’s also promoters pulling gigs at the last minute. They’re not getting the ticket sales so they’re getting scared and pulling the gig. They’re not waiting until the day when people buy tickets on the door. They panic that they’re not getting many pre-sale tickets, but people aren’t buying tickets because they’re not sure whether to put food on the table or go to the gigs that they used to. Maybe they used to go to four or five gigs a month and now they can only afford to go to one.
“We have no passing trade because we’re off the main track of Camden, so that means if we cancel a gig and shut the doors then my staff lose wages. That’s my engineers, bar staff, security, everybody. We can’t pay the bills and there’s a knock-on effect. In recent months, it’s been very, very difficult.”
Asked for a solution, Maiden put it that “the government needs to get a grip on what’s actually happening”.
“All of the hard work done by MVT falls on deaf ears because the government doesn’t have the experience of people in the culture sector who can react to help people like us in the arts,” he said. You need someone from the grassroots level in government who actually knows what they’re talking about.”
As well as naming Brexit as an issue (“we aren’t getting any more touring bands from Europe,” he claimed), Maiden vowed that The Fiddler’s Elbow would do their best to face all challenges head-on.
He added: “We’ll be fighting to the end and staying open, 100 per cent, as long as people get a bit of help.”
A gig at Manchester’s Night & Day. Credit: Ben Smithson
Reece Ritchie is an in-house promoter at Manchester’s Night & Day, who has been in headlines of late due to a legal battle over a noise complaint threatening their future. The local community, gig-goers across the UK and a raft of music legends since came out in support of the venue, which Ritchie described as “a massive deal” for all involved.
“There are bands that I’ve dreamt of working with since I was a kid saying that what we’re doing here is incredibly important,” he told NME. “That’s super important. Beyond the bands and the industry, to hear music fans say that they met their significant others in the venue, that they met their favourite bands here or decided to start a band here – there are thousands of stories to be told and it’s what’s keeping us going at the moment.”
READ MORE: Post-lockdown noise complaint threatens Manchester’s Night & Day venue – but they’re not alone
“Everyone who has ever worked here has tried to offer a varied line-up and never just the same bands week-in, week-out. The bills just for February and March at the moment have electronic DJs, jazz, rock, indie, punk – everything, from the UK and international touring acts. It really is a platform for everyone to come together. That’s why people love it so much.”
Beyond the noise complaint, Ritchie spoke of the many other daily challenges that Night & Day were facing.
“The cost of living crisis has been huge for us,” he said. “People are going to less shows, everyone has a lot less money and it’s the creative outlets that suffer first. Night & Day is somewhere where people go to have a good time, but it’s where you cross off your list when budgets are tight. Everyone’s feeling the squeeze.
“Without getting too political, Brexit is a nightmare, so trying to get European acts into the country is harder.”
While admitting that there are “always a million trials and tribulations to running a music venue”, Ritchie said that Night & Day were inspired by “a great community behind us” and the fact that “we’re still able to do this well, as we have done for the last 31 years”.
“We’re in the cultural hub of the Northern Quarter and we are a constantly rotating cycle of art,” he said. “People come here to share ideas and make things happen. The philosophy behind everything we do at Night & Day is just to put on the best possible show that night.
“The argument that these venues need saving because they create the next Ed Sheeran and the next Elbow is an important factor, but each show that happens here is incredible in its own way because everyone – from the band to the staff to the sound engineers to the promoters, the PRs and the fans themselves – they want the best from every show.
“It’s not just a chance to see the next ‘big thing’, it’s the best place to see art right now. And usually for less than £15!”
Night & Day is one of many taking part in Independent Venue Week. IVW 2023 runs through February 5 and will mark the initiative’s 10th anniversary. More than 300 UK venues will host hundreds of gigs and events this week to celebrate and support the country’s independent live music spaces, as well as the people that own, run and work in them.
Ritchie argued that for music fans more used to gigs in arenas, theatres or academies, trying a smaller grassroots would serve them well as it’s “where you’re going to see the most groundbreaking stuff”.
“Independent grassroots music venues are the first and often the only people willing to take a risk on something new and something different,” he said. “That’s worth watching whether the act reaches theatres or arenas or not.”
He added: “If you feel like you want to explore your music tastes a bit more and try something a bit different, then independent venues are super accessible. Some people are super hesitant to spend £40 on a show at Victoria Warehouse or Academy 1 to see something new.
“If you’re not sure if you like post-punk live or want to get into a moshpit, then a grassroots music venue is the best way to get in touch and get involved. It would be great to see more people get into that from the ground up.”
Another venue taking part in IVW 2023 is Clwb Ifor Bach in Cardiff. Owner and promoter Guto Brychan told NME how some of his highlights of his 30-plus years of working there included The Strokes playing there on their first UK tour, Coldplay playing around the release of breakthrough single ‘Yellow’, Self Esteem graduating from the smaller to larger space at the venue on consecutive tours, and “watching the local bands come along to learn their craft before seeing them flourish and grow beyond what we can provide for them”.
“At the heart of it, a grassroots venue is an asset for that community and we want as many local people as possible to think of it as an opportunity to perform there or get involved,” he said. “It’s not just about performers – people become sound engineers or reps or agents. People start their music industry journey here and that engagement resets the course of their life.”
Brychan said that Clwb Ifor Bach was in a lucky position of having more shows booked for 2023 than they did at this point in 2019, but a rocky road still lay ahead.
“The challenge now is that for the level of artists who would play a venue like ours, the cost of touring, accommodation, petrol, food and such has made it more expensive to put the shows on,” he said. “Now it’s about ensuring that the artists are able to afford to come and play the venue while also ensuring that the ticket price doesn’t get to a point where it’s too expensive for the customer.”
Ultimately, Brychan said that a space like Clwb Ifor Bach offered something that larger venues just never could.
“I feel, especially for a younger audience, that these are the places you should be having your formative experiences for watching live music,” he argued. “There’s something about seeing an artist perform at a small venue where you’re really close them, they look more like you, they’re really approachable, and you can imagine yourself on stage. Whereas if you go to a big arena-type space, there’s a lot of distance between the audience and the band – physically and mentally. It becomes a bit more unobtainable.
“These are the spaces that encourage people to go, ‘You know what? I’m gonna give that a go’.”
Frank Turner plays at the launch of the Music Venue Trust’s annual report at The Houses Of Parliament. Credit: Georgia Penny
The Music Venue Trust also made a number of demands of the government as it launched its report. It asked for a reduction in VAT applied to venue ticket sales, which is currently the second-highest in Europe, one of the highest in the world and far above the level of most major music-producing nations.
It also called for an end to “excessive and anti-competitive” business rates, which are “crippling” these cultural spaces, and that the DCMS pressure the Chancellor for a suitable and urgent extension or expansion of the Energy Relief Scheme that is workable for venues.
Additionally, the MVT urged that it be afforded the same privileges as the Theatre Trust regarding being approached when planning applications are submitted from neighbouring developments. This move helps to prevent developments coming about and noise complaints potentially shutting down existing venues.
Responding to the MVT’s demands, a DCMS spokesperson did not touch on the majority of their comments but told NME: “We know this is a difficult time for music venues and we remain firmly on their side. The government has delivered an £18billion package of support for organisations through the Energy Bill Relief Scheme, which includes arts venues and businesses, through the winter.
“The scheme will continue to provide valuable assistance to organisations until the end of March before the new Energy Bills Discount Scheme comes into effect to provide additional assistance for the following year.”
The MVT’s annual report was first shared during an event attended by NME at the Houses Of Parliament, with a sobering speech from the MVT laying out the action required from the government as well as calling on new large UK arenas to “contribute to the security of the wider music ecosystem by investing a percentage of every ticket they sell into the grassroots music ecosystem”.
When approached by NME, a number of the eight new large venues responded and claimed they would be looking to support new and emerging talent.
Last year, MVT also launched its ‘Own Our Venues’ campaign aimed at providing ownership to grassroots music venues across the country.
The scheme, which was backed recently by Ed Sheeran, aims to secure the long-term futures of these venues by directly tackling the issue of ownership. The scheme has been likened to “The National Trust, but for venues”.
As part of Independent Venue Week, patron Philip Selway told NME how small gig spaces helped shape Radiohead (and what the future holds for the band), while rising noise punks Benefits told us how “independent venues are not ‘stepping stones’ – for many bands this is our Wembley”.
Beabadoobee, who is also an ambassador for IVW 2023, recently spoke to NME about what grassroots venues mean to her and her upcoming shows with Taylor Swift. You can find out more about this year’s Independent Venue Week here.
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MANILA, Philippines—Korean Basketball League team Seoul Samsung Thunders have reportedly terminated their contract with Justine Baltazar. As per Korean publication Jumpball, the team couldn’t get in touch with Baltazar in time for the February 1 player registration deadline. “Samsung eventually decided to terminate the contract,” the story read. Baltazar, who signed with the Thunders last […]
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MANILA, Philippines—Bryan Bagunas has signed with Imus-ITP in the 2023 Spikers’ Turf Open Conference. The AJAA Spikers on Friday announced the acquisition of the national team star, who is expected to be back in the country next month. “We are excited to have one of the best players in the country to play for our […]
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Shania Twain has revealed that she rejected Prince‘s offer to make “the next ‘Rumours’” together.
READ MORE: Shania Twain: Not Just A Girl film review – defiant pop star shows she’s still the one
Twain said in a new interview that the late star contacted her in 2008, around the time that she was planning her divorce from her then-husband Matt “Mutt” Lange following his infidelities. Prince saw it as an opportunity to make the ultimate heartbreak album akin to the Fleetwood Mac classic.
“I missed out on that because Prince called me when I got divorced,” Twain said in a video interview with Apple Music’s Zane Lowe of the failed opportunity.
“We’re on the phone and he said, ‘Shania, why don’t you come to Paisley Park? I want to make the next ‘Rumours’ album with you.’ And that was the weirdest thing he could have ever have said, because Mutt – his standard of what he thought, where I could live as a standard – was that album, ‘Rumours’ album.”
But Twain explained to Lowe that she didn’t feel ready. “When Prince said that to me, I’m like, ‘Oh man, I’m not even divorced yet.’ I’m just like, ‘I’ve been dumped,’ but I’m not, obviously, divorced yet. I’m like, this is way too ironic what you’re saying. Right? And I’m such a major Prince fan.”
She continued: “And then on top of it, I hadn’t found my voice yet.” Twain referenced her battle with Lyme disease that robbed her of her vocal power. “I was still working on it. I was so far from finding it still,” she added.
Twain also said that Prince’s manners provided another hurdle. “I’m on the phone with him and I’m swearing like I always do. I mean, because I’m just at home,” Shain said, “and he said to me, ‘Well, if you do decide to come to Paisley Park, there’s no swearing allowed here.’ So that was another strike.
Prince perform live on his 1984 ‘Purple Rain’ tour. CREDIT: Getty
“I’m like, ‘Oh no, I love you so much, but I don’t think I could get through writing and recording an album without swearing, somewhere along the way! What are you going to do to me if I swear? I might have to stand in the corner or something.’ I wasn’t sure about that. I don’t think I was ready for what all that was going to mean for me. I didn’t give up on it or anything, but then he died.”
Twain’s sixth album, ‘Queen Of Me’, was released today (February 3).
The country pop star recently discussed posing topless for the cover artwork for album single ‘Waking Up Dreaming’, which arrived last September as the first preview of ‘Queen Of Me’.
“This is me expressing my truth. I’m comfortable in my own skin, and this is the way I am sharing that confidence,” the 57-year-old Twain said in a recent interview with People. “I think the best fashion is confidence, and whatever you wear – if you’re wearing it with that, it’s fashionable.”
Meanwhile, last year the singer opened up about her “touch-and-go” experience with COVID.
The musician detailed in a BBC interview about her documentary Shania Twain: Not Just A Girl what happened to her while she had the virus.
In the interview, she talked about recording a song called ‘What You Gonna Do With That Air?’ and later revealed that the track is about “the anxiety of running out of air”.
Twain explained: “I had a very bad bout with COVID, with COVID pneumonia, and it was very touch-and-go. I was feeling like, ‘Oh my God, I just have to breathe.’”
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Reggae metal band Skindred have become unexpected TikTok stars after their song ‘Nobody’ sparked a new dance trend on the social media platform.
READ MORE: Sped up songs: why are music fans becoming captivated by quick TikTok hits?
TikTok user @ayoshin shared a video of himself and a friend dancing to the Welsh band’s 2005 single ‘Nobody’ on the app last week, kickstarting the trend.
Since then, the track has been used by creators in more than 1,000 videos, with millions of views across these clips. The hashtags #Skindred and #reggaemetal have also seen an uptick, with the former now having over 6.8million views and the latter 623,000 video views.
Skindred frontman Benji Webbe has now responded to the trend with his own video, trying out Shin’s choreography. “Seen people posting our song nobody,” Webbe wrote on his video. “Tried the dance that shit ain’t easy.”
We did it in public! Dc:me tag away
Some of those partaking in the trend are discovering Skindred for the first time through TikTok. “Idk what I’ve stumbled apon but its fye,” one user captioned their own video. Others are celebrating the track’s resurgence. “All the kids on here learning this song exist,” one wrote on their video. “Us OGs RAGING cuz this banger is making a comeback.”
Idk what ive stumbled apon but its fye #fy #fyp
See more videos of the trend below.
DC: @Shin this is lit #goths #goth #alt #alttiktok #gothic #gothblackgirl #gothgirl #gothstyle #dark #gothicstyle #blackgoths #alternative #gothtok #gothicgirl #metalhead #gothsoftiktok #dark #gothicgothgoths #black #alternativegirl #gothgirls #hardrock #gothicfyp #gothlife #afrogoth #vampire #gothiclife #darkaesthetic #altgirl
no because we be lit to everything #fyp #trending #foryou #afrobeats #dancehall #jamacia
DC: in tags
Last month, Skindred were confirmed as one of the support acts for KISS’ final UK shows. The tour will kick off in Plymouth on June 3 and run until July 8, when it wraps up in Glasgow.
“BOOM! Opportunities do not come much bigger than sharing a stage with the ultimate Rock n Roll Legends that are KISS,” Webbe said. “All in, Skindred are super hyped and excited to be on this bill adding to the party spirit, what a thrill! Let’s rock ‘n roll all night and party every day. Bring it on!”
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ANTIPOLO—San Miguel Beer on Friday bucked a lethargic start to flatten the wheels of lowly Terrafirma, 122-102, annexing a third straight win to open its PBA Governors’ Cup at Ynares Center here. Import Cameron Clark had 31 points and 14 rebounds as CJ Perez starred for the locals with 20 points, 11 rebounds and six […]
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