GUEST COLUMNS

Wot Do U Call It?

Over summer, c90 held a showcase of acts on the Brixton-based Werk discs label (www.werk-it.com). Werk strives to invent spurious new genres (such as Grim and Eurocrunk) and mercilessly corner the market on them. It used to be the case that the mainstream media would victimise alternative music for its profusion of genres and sub-genres, but recently the desire to be up-to-speed with the diverse ways that musicians identify and express themselves (and the associated remunerative value of being first to break these niche markets) means that the broadsheets compete to endorse them (e.g. the Observer Music Monthly, the Guardian and the Times covering dancehall, crunk, grime, reggaeton, and bailé-funk / carioça.). Werk's fictional genres might satirize the media's spotlights, but they raise an interesting issue, questioning why we have spiralling genres and subgenres.

Genres are functional. The primary function of a genre is taxonomic; it's identified so as to divide up sounds by particular features. And there are loads of features. Many terms pick out variations in rhythms (disco, gabba), in style or mood (whether smoother or more abrasive, more technical or more anthemic, harder, deeper, faster etc.), in origin or biography (Detroit techno, Chicago house, Swedish Death Metal, Frenchcore, Tamil vs. Hindi Bollywood songs), in instrumentation (gamelan, toytronics, field recording/soundscapes, 'ambient', noise), in attention to studio detail (there are lo-fi versions of most genres - check Shranz), and in the ideology of the artists (check techno's role as a language of unification and resistance under the GDR, punk and hardcore as a voice of independence and subversion). This isn't the same as putting up barriers between sounds, it's just labelling, cataloguing; its purpose is for sifting, sorting and distinguishing. Genres (in this sense) exist for the auditors of musical properties (and some of these properties might be exemplified by only a single record - such is the case with Shizuo's "Fuckstep 98" LP on DHR, a record which arguably both epitomizes and exhausts the genre). So it's easy to see why genres could be dizzingly Borgian - the near-infinite ways we could catalogue conjures the image of a labyrinthine record store organised by copious classifications. It's also easy to see why fictional genres can be self-fulfilling prophecies: just give a name to a distinct set of musical properties, and it exists.

But at its limit it is also self-defeating: insisting on every minute taxonomic distinction makes navigation harder, not easier. At the extreme, genres stop being genres and start being chapter-length descriptions. But our general level of focus, the reasons we're interested in introducing genres, is broader - when we talk about 'genres' we direct our attention to those middle-sized objects, available to the naked eye if you will, rather than to those properties only discernable under a microscope (or armed with copious recording notes - who, when, where, on what, in which key, why?). The reason we want genres is so that we can find stuff to listen to, not so that we can file the stuff we've heard.

The reason for the bad press that genres get is because they don't get used strictly taxonomically. Or at least, they're not always used just so as to ring-fence musical properties; they become signifiers of scenes (as we'd expect, if scenes congregate around or adopt genres), arbiters of cool. From the outside they seem exclusive, genres as barriers. Indeed, some people revel in the invention of subgenres; they provide desirable obscurity, away from the media's spotlight, a sense of newness, eternally cutting-edge. Often they become isolationist, and the threat is that they'll become cut-off from the influence of (and on) the world. It's easy to see an individual genre as rather pointless - taken in isolation it demarcates a range of features which can seem rather formulaic and easily exhausted. There are many genres that have faded from their youthful glow by dint of marooning themselves and quickly discovering the limits of their development.

Instead of genres being used to build walls, it's better to see them as colours in a palette. Don't just look at them individually; instead, explore them for the comparisons between them. Don't just use genres as a way of finding more-of-the-same, but as a way of finding different things, explore them for their differences. Even better, take them as brightly coloured duplo blocks, use them to build, learn, and create. dj/rupture was writing a little while back in a Spanish magazine: "A bad DJ is little more than a jukebox. A good DJ is a jukebox with a nice musical selection. And a great DJ reinvents the familiar and/or the obscure, imprinting her or his own personality via realtime improvisation using only fragments of other people's music." It's this that motivates the mashup, the politics of plunderphonics, and all those praiseworthy genres (like breakcore, dubstep, folktronica, glitch-hop…) that are hybrid and collaborative; meta-genres that build new dialogues. It's at these sorts of boundaries that the business of genres comes into its own - where the huge variety of genres acts more like a range of ingredients ready to make new recipes, and where the classification of music pushes the music being made.

Joe c90

info@c90.org
http://www.c90.org

Chris(tmas) Catalyst

So Christmas is coming up. I fucking love Christmas. Except it gets freezing and I get about four colds in winter. At least we've got another four months or so before everything becomes 'egg-stravaganza' or 'egg-stra special'. Anyway. Oh and we get to hear the fantastic Carr Gate shopping centre jingle on the local radio, it's a pop classic. Anyway this is (slightly) the crux of my article this month. Where have all the great Christmas songs gone?

TOP 5 CHRISTMAS SONGS OF ALL TIME

1. 'Fairytale of New York' - The Pogues and Kirsty McColl It's not the most romantic number in the world, but gains number one status for the fact that it discusses the true meaning of Christmas - getting trousered and having a row with the missus. Plus the vivid imagery it depicts is beautiful. One can almost smell the ginny sick down Shane McGowan's toothless grin. Timeless.

2. 'I Wish It Could Be Christmas Everyday' - Roy Wood and Wizzard Sleighbells - check. Choir of school children - check. Church bells - check. The only way this song could be more Christmas was if it came with a free grandma asleep after the Queen's speech. The unfortunate thing is that if it actually was Christmas every day, we'd all be about 24 stone and skint. But 'I Wish It Could Be Christmas Every Third Weekend' doesn't quite have the same ring.

3. 'Merry Xmas Everyone' - Slade 'IIIIIIIIIIITTT'SS CHRRRIIIIIIIIIISSSSSSS-MAAAAAAAAAASSSSSSS!!!'. 'Nuff said.

4. 'Keeping The Dream Alive' - Freiheit. A 1988 release from little-known German soft-rockers Freiheit. You'll know this, even if you think you don't. But you'll probably have thought it was Paul McCartney. It's head and shoulders about McCartney's rubbish 'Simply Having A Wonderful Christmas Time', which sounds a bit like a seven year old on Boxing Day on his new Casio keyboard, with the 'dog bark' setting on. This one's actually a rousing pop classic, cheesier than the films on the morning of 25/12, but more fun.

5. 'Merry Christmas Everyone' - Shakin' Stevens 'We're gonna have a party tonight'... oh aye. And with Shaky himself at the helm, how could it be any better? It helps that Shakin' Stevens was my hero when I was a nipper. It paints a picture of the perfect Christmas, snow falling, people playing, having fun etc. It's hardly Wildean. But ace. Oh and the key change is magic.

Bubbling slightly under are 'Misteltoe And Wine' - Sir Clifford of Richard ('A time for giving, a time for getting, a time for FORGIVING, a time for FORGETTING'... genius), 'Step Into Christmas' - Elton John (except the rubbish solo bit), 'A Spaceman Came Travelling' - Chris de Burgh ('LAAAAAAAA LA LAA LAAAAAAA LA LAA LAAAAAAAA LAAAA LAAA LAAAAAAA'... more seasonal genius, this time with prog leanings - could life get any better?), 'Lonely This Christmas' by Mud (heartbreaking tripe) and of course 'Do They Know It's Christmas', which is still great 21 years on. But where have they gone? It used to be seasonal tradition, and Christmas number one was a big deal. Now the pop charts just seem to ignore glad tidings, like it has grown out of it. Which is rubbish. Bah humbug indeed. The last great Christmas single was 'Stay Another Day' by East 17 in 1994, which means 11 years of snow-barren pop charts. The 70s and 80s were a hive of fun Christmas schmaltz.

Let's have it again. In Leeds. I want to hear Four Day Hombre singing about boughs and holly. Yes Boss brapping over 'God Rest Ye Merry Gentlemen'. That Fucking Tank's sleighbell-led epic. Tangaroa laying down blast beats in eulogy to Santa and his reindeer. Someone write a righteous Christmas classic and let's get it to number one next year. And with that, best wishes of the season to you and yours. Get drunk and be merry, but leave the car keys at home. Happy fucking Christmas!

Chris Catalyst

Imagine.........Some time in New York City

by Stuart Clarkson

For John Lennon fans this is a significant year, the Liverpool born Beatle would have been 65 years old and 2005 also marks an unwanted anniversary; twenty five years since he was assassinated outside his New York apartment. My own pilgrimage to his adopted city was made between the two dates, the 9th October and 8th December respectively. Standing at the entrance to Central Park that faces the Dakota building, it is still hard to believe that the tragedy could have occurred in this wealthy and cosmopolitan area of Manhattan. Several yards into the park at a spot, which must be almost viewable from his rooms in the Dakota, is a memorial commissioned by Mrs John Lennon, Yoko Ono. It features a circle mosaic inscribed with the word 'Imagine' all inlaid into the tarmac at a point where several small paths meet. The place itself is labelled as 'Strawberry Fields' in memory of another of the great man's songs. Now frequented daily by music fans and tourists alike, you will always find yourself in the company of a wide range of nationalities, testimony to the universal appeal of his music. And if you are lucky there will be someone busking, like there was on this occasion a guy strumming melodic and relaxed renditions of 'All My Loving' and 'Lucy in the Sky with Diamonds'; instant karma. It is a glorious day, bright sunshine and a crisp clear sky, an 'Indian summer' that so often happens in New York at this time of year and so the atmosphere is tranquil if tinged with sadness. Taking advantage to sit and reflect, I ask myself what was so special about Lennon? The music speaks for itself but for me it was also his personality, he was brutally honest but with a modest demeanor, two qualities so lacking amongst talented people these days and non-existent in celebrities with no talent. George Martin, the famed Beatles producer once said you would always find a more commercial edge to McCartney compositions; he cared about the Beatles reputation. Lennon, he said could not care less what anyone thought, he just wrote his songs. It was also the NY Beatle who on the mass media attention and fan mourning of the break up of the band put things in perspective by reminding everyone that 'it was only a rock group'.

If you don't like cities then don't go to NY but if you do you probably won't want to leave. Being a member of the second category, I cannot resist an annual fix of elegant slumming and no visit for me would be complete without a little time around Lennon's place. Not that I am far away, some years ago I discovered I could stay at the very reasonably priced YMCA just two blocks down. Whilst swimming in the Y Pool one day I was informed on high authority that JL brought son Sean here for swimming lessons each week, just him and his son, no security. That's what he liked about New York, people let him do his own thing without intruding (until that crazed stranger took advantage). On arrival this time I thought about how to link this piece for a Sheffield magazine about a man and a place that has little connection with Sheffield; the answer was waiting. I switched on my portable radio and unwittingly tuned in to a familiar English voice answering listener's calls live on 'Q1043 New York's only Classic Rock Station', it was Sheffield's own Joe Elliott (Def Leppard). If that was the opening link then the closing one was a piece of unfortunate timing, the day after my flight home the Arctic Monkeys were making their New York debut at the Mercury Ballroom, just a few subway stops away. Oh well, maybe next time but for now Strawberry Fields forever.

Return of the Vest:

Every month AUNTY PANDA gives us her take on the Sheffield Rock and Metal scene.

October and November have been months of change in the world of Sheffield Music. West Street Live (previously the 80s bar on West Street) was launched last month, providing a great new venue for the Sheffield Rock and Metal Scene to get involved with. After visiting the venue I felt it placed more emphasis on being a bar. However, with a stage and a decent-sounding PA, more of the "mainstream people" of Sheffield will get exposed to the local music scene which can only be a good thing!

The Casbah is no longer working with Brainwash Promotions but this has not stopped either from continuing. Every Wednesday at the Casbah there is a rock night with DJ Mikey Shotgun playing music from Charlotte Hatherley to Metallica via MCR, Therapy?, Ash, Hell is for Heroes and Mansun, well worth checking out.

And if that's not enough, "Stormblast" is a new night every Thursday at The Nelson featuring the finest in cutting edge and classic extreme metal.

Metal made headlines on 8th November when local metal band, Existend took the title in the South Yorkshire Film Network "2 Weeks To Make It" music video competition. Their track "Screaming, was one of only 23 bands' tracks chosen, and their video, put together by "Watts That Production", came first out of the 19 finalists on the night.

Shadowfest with Soundaloud ran an incredible fancy dress Halloween gig last month, full of Metallic Mayhem with Sukmunki and Rumpus amongst others - see the Reviews section for more details.

Perhaps the biggest event this month is the retirement of Bonna from promotion duties. Many of you will know him as the "Man with the Hat" from all the Extreme Maggot Infestation gigs and Steel City Metal Fests. A true hero of Sheffield Metal, he will continue rocking out with Maggot for a long time to come, but his promoting days are over - he will be sadly missed by us all. I have been assured that other capable fellows will be taking over Steel City, it is not dead, and long may it survive.

Also…Aunty Panda is out and about in December, and onwards, reviewing more local metal bands. Let me know where you're playing and Panda Eyes will be there if I can.

Email me at: aunty_panda@yahoo.co.uk with your dates.

Metal and Rock pubs to go to in Sheffield:

The Moorfoot Tavern (new classic rock bar), Cumberland Street, S1 4PT
The Nelson, 23 Furnival Gate, S1 4QR
The Casbah, 1 Wellington St, S1 4HF
The Sportsman, 24 Cambridge Street, S1 4HP
The Dove and Rainbow, Hartshead Square, S1 2EL
The Corporation Night Club, Milton Street, S1 4JU

Venues and Events:

Shadow Fest every two months @ The Boardwalk, Snig Hill, S3 8NA
Steel City Metal Fest Saturdays @ The Corporation, Milton Street, S1 4JU
Mikey Shotgun every Wednesday @ The Casbah, Wellington Street, S1 4HF
Quarantine every Wednesday @ Plan B, The Hubs, Paternoster Row, S1 2QQ
Bleach every Wednesday @ Fuzz Club, Sheffield University, Western Bank, S10 2TG
Stormblast every Thursday @ The Nelson, Furnival Gate, S1 4QR
Metal every second Friday of the month @ The Cricketers, Bramall Lane, S6 4RD
Rock and Metal events @ DnR Live

DECEMBER HIGHLIGHTS:

65 Daysofstatic, The Mirimar Disaster @ The Boardwalk 1st…Shadowfest: Firegarden + RiseToAddiction + Headup + Skud @ The Boardwalk 7th… Severed Nerve + Faith In Chaos + Dissident + Downslide @ The Corporation 8th… Soundaloud Metal Fest: Existend + Tacoma + The Darwin Theory @ The Grapes 13th… Rumpus + Little Miss Machete + Sukmunki + Maeven @ DnR Live 30th

fancy writing a guest column? contact the editor at jan@sandmanmagazine.co.uk or simply send us 500 words on whatever you fancy



	GUEST COLUMNS Wot Do U Call It? Over summer, c90 held a showcase of acts on the Brixton-based Werk discs label (www.werk-it.com). Werk strives to invent spurious new genres (such as Grim and Eurocrunk) and mercilessly corner the market on them. It used to be the case that the mainstream media would victimise alternative music for its profusion of genres and sub-genres, but recently the desire to be up-to-speed with the diverse ways that musicians identify and express themselves (and the associated remunerative value of being first to break these niche markets) means that the broadsheets compete to endorse them (e.g. the Observer Music Monthly, the Guardian and the Times covering dancehall, crunk, grime, reggaeton, and bailé-funk / carioça.). Werk's fictional genres might satirize the media's spotlights, but they raise an interesting issue, questioning why we have spiralling genres and subgenres. Genres are functional. The primary function of a genre is taxonomic; it's identified so as to divide up sounds by particular features. And there are loads of features. Many terms pick out variations in rhythms (disco, gabba), in style or mood (whether smoother or more abrasive, more technical or more anthemic, harder, deeper, faster etc.), in origin or biography (Detroit techno, Chicago house, Swedish Death Metal, Frenchcore, Tamil vs. Hindi Bollywood songs), in instrumentation (gamelan, toytronics, field recording/soundscapes, 'ambient', noise), in attention to studio detail (there are lo-fi versions of most genres - check Shranz), and in the ideology of the artists (check techno's role as a language of unification and resistance under the GDR, punk and hardcore as a voice of independence and subversion). This isn't the same as putting up barriers between sounds, it's just labelling, cataloguing; its purpose is for sifting, sorting and distinguishing. Genres (in this sense) exist for the auditors of musical properties (and some of these properties might be exemplified by only a single record - such is the case with Shizuo's "Fuckstep 98" LP on DHR, a record which arguably both epitomizes and exhausts the genre). So it's easy to see why genres could be dizzingly Borgian - the near-infinite ways we could catalogue conjures the image of a labyrinthine record store organised by copious classifications. It's also easy to see why fictional genres can be self-fulfilling prophecies: just give a name to a distinct set of musical properties, and it exists. But at its limit it is also self-defeating: insisting on every minute taxonomic distinction makes navigation harder, not easier. At the extreme, genres stop being genres and start being chapter-length descriptions. But our general level of focus, the reasons we're interested in introducing genres, is broader - when we talk about 'genres' we direct our attention to those middle-sized objects, available to the naked eye if you will, rather than to those properties only discernable under a microscope (or armed with copious recording notes - who, when, where, on what, in which key, why?). The reason we want genres is so that we can find stuff to listen to, not so that we can file the stuff we've heard. The reason for the bad press that genres get is because they don't get used strictly taxonomically. Or at least, they're not always used just so as to ring-fence musical properties; they become signifiers of scenes (as we'd expect, if scenes congregate around or adopt genres), arbiters of cool. From the outside they seem exclusive, genres as barriers. Indeed, some people revel in the invention of subgenres; they provide desirable obscurity, away from the media's spotlight, a sense of newness, eternally cutting-edge. Often they become isolationist, and the threat is that they'll become cut-off from the influence of (and on) the world. It's easy to see an individual genre as rather pointless - taken in isolation it demarcates a range of features which can seem rather formulaic and easily exhausted. There are many genres that have faded from their youthful glow by dint of marooning themselves and quickly discovering the limits of their development. Instead of genres being used to build walls, it's better to see them as colours in a palette. Don't just look at them individually; instead, explore them for the comparisons between them. Don't just use genres as a way of finding more-of-the-same, but as a way of finding different things, explore them for their differences. Even better, take them as brightly coloured duplo blocks, use them to build, learn, and create. dj/rupture was writing a little while back in a Spanish magazine: "A bad DJ is little more than a jukebox. A good DJ is a jukebox with a nice musical selection. And a great DJ reinvents the familiar and/or the obscure, imprinting her or his own personality via realtime improvisation using only fragments of other people's music." It's this that motivates the mashup, the politics of plunderphonics, and all those praiseworthy genres (like breakcore, dubstep, folktronica, glitch-hop…) that are hybrid and collaborative; meta-genres that build new dialogues. It's at these sorts of boundaries that the business of genres comes into its own - where the huge variety of genres acts more like a range of ingredients ready to make new recipes, and where the classification of music pushes the music being made. Joe c90 info@c90.org http://www.c90.org Chris(tmas) Catalyst So Christmas is coming up. I fucking love Christmas. Except it gets freezing and I get about four colds in winter. At least we've got another four months or so before everything becomes 'egg-stravaganza' or 'egg-stra special'. Anyway. Oh and we get to hear the fantastic Carr Gate shopping centre jingle on the local radio, it's a pop classic. Anyway this is (slightly) the crux of my article this month. Where have all the great Christmas songs gone? TOP 5 CHRISTMAS SONGS OF ALL TIME 1. 'Fairytale of New York' - The Pogues and Kirsty McColl It's not the most romantic number in the world, but gains number one status for the fact that it discusses the true meaning of Christmas - getting trousered and having a row with the missus. Plus the vivid imagery it depicts is beautiful. One can almost smell the ginny sick down Shane McGowan's toothless grin. Timeless. 2. 'I Wish It Could Be Christmas Everyday' - Roy Wood and Wizzard Sleighbells - check. Choir of school children - check. Church bells - check. The only way this song could be more Christmas was if it came with a free grandma asleep after the Queen's speech. The unfortunate thing is that if it actually was Christmas every day, we'd all be about 24 stone and skint. But 'I Wish It Could Be Christmas Every Third Weekend' doesn't quite have the same ring. 3. 'Merry Xmas Everyone' - Slade 'IIIIIIIIIIITTT'SS CHRRRIIIIIIIIIISSSSSSS-MAAAAAAAAAASSSSSSS!!!'. 'Nuff said. 4. 'Keeping The Dream Alive' - Freiheit. A 1988 release from little-known German soft-rockers Freiheit. You'll know this, even if you think you don't. But you'll probably have thought it was Paul McCartney. It's head and shoulders about McCartney's rubbish 'Simply Having A Wonderful Christmas Time', which sounds a bit like a seven year old on Boxing Day on his new Casio keyboard, with the 'dog bark' setting on. This one's actually a rousing pop classic, cheesier than the films on the morning of 25/12, but more fun. 5. 'Merry Christmas Everyone' - Shakin' Stevens 'We're gonna have a party tonight'... oh aye. And with Shaky himself at the helm, how could it be any better? It helps that Shakin' Stevens was my hero when I was a nipper. It paints a picture of the perfect Christmas, snow falling, people playing, having fun etc. It's hardly Wildean. But ace. Oh and the key change is magic. Bubbling slightly under are 'Misteltoe And Wine' - Sir Clifford of Richard ('A time for giving, a time for getting, a time for FORGIVING, a time for FORGETTING'... genius), 'Step Into Christmas' - Elton John (except the rubbish solo bit), 'A Spaceman Came Travelling' - Chris de Burgh ('LAAAAAAAA LA LAA LAAAAAAA LA LAA LAAAAAAAA LAAAA LAAA LAAAAAAA'... more seasonal genius, this time with prog leanings - could life get any better?), 'Lonely This Christmas' by Mud (heartbreaking tripe) and of course 'Do They Know It's Christmas', which is still great 21 years on. But where have they gone? It used to be seasonal tradition, and Christmas number one was a big deal. Now the pop charts just seem to ignore glad tidings, like it has grown out of it. Which is rubbish. Bah humbug indeed. The last great Christmas single was 'Stay Another Day' by East 17 in 1994, which means 11 years of snow-barren pop charts. The 70s and 80s were a hive of fun Christmas schmaltz. Let's have it again. In Leeds. I want to hear Four Day Hombre singing about boughs and holly. Yes Boss brapping over 'God Rest Ye Merry Gentlemen'. That Fucking Tank's sleighbell-led epic. Tangaroa laying down blast beats in eulogy to Santa and his reindeer. Someone write a righteous Christmas classic and let's get it to number one next year. And with that, best wishes of the season to you and yours. Get drunk and be merry, but leave the car keys at home. Happy fucking Christmas! Chris Catalyst Imagine.........Some time in New York City by Stuart Clarkson For John Lennon fans this is a significant year, the Liverpool born Beatle would have been 65 years old and 2005 also marks an unwanted anniversary; twenty five years since he was assassinated outside his New York apartment. My own pilgrimage to his adopted city was made between the two dates, the 9th October and 8th December respectively. Standing at the entrance to Central Park that faces the Dakota building, it is still hard to believe that the tragedy could have occurred in this wealthy and cosmopolitan area of Manhattan. Several yards into the park at a spot, which must be almost viewable from his rooms in the Dakota, is a memorial commissioned by Mrs John Lennon, Yoko Ono. It features a circle mosaic inscribed with the word 'Imagine' all inlaid into the tarmac at a point where several small paths meet. The place itself is labelled as 'Strawberry Fields' in memory of another of the great man's songs. Now frequented daily by music fans and tourists alike, you will always find yourself in the company of a wide range of nationalities, testimony to the universal appeal of his music. And if you are lucky there will be someone busking, like there was on this occasion a guy strumming melodic and relaxed renditions of 'All My Loving' and 'Lucy in the Sky with Diamonds'; instant karma. It is a glorious day, bright sunshine and a crisp clear sky, an 'Indian summer' that so often happens in New York at this time of year and so the atmosphere is tranquil if tinged with sadness. Taking advantage to sit and reflect, I ask myself what was so special about Lennon? The music speaks for itself but for me it was also his personality, he was brutally honest but with a modest demeanor, two qualities so lacking amongst talented people these days and non-existent in celebrities with no talent. George Martin, the famed Beatles producer once said you would always find a more commercial edge to McCartney compositions; he cared about the Beatles reputation. Lennon, he said could not care less what anyone thought, he just wrote his songs. It was also the NY Beatle who on the mass media attention and fan mourning of the break up of the band put things in perspective by reminding everyone that 'it was only a rock group'. If you don't like cities then don't go to NY but if you do you probably won't want to leave. Being a member of the second category, I cannot resist an annual fix of elegant slumming and no visit for me would be complete without a little time around Lennon's place. Not that I am far away, some years ago I discovered I could stay at the very reasonably priced YMCA just two blocks down. Whilst swimming in the Y Pool one day I was informed on high authority that JL brought son Sean here for swimming lessons each week, just him and his son, no security. That's what he liked about New York, people let him do his own thing without intruding (until that crazed stranger took advantage). On arrival this time I thought about how to link this piece for a Sheffield magazine about a man and a place that has little connection with Sheffield; the answer was waiting. I switched on my portable radio and unwittingly tuned in to a familiar English voice answering listener's calls live on 'Q1043 New York's only Classic Rock Station', it was Sheffield's own Joe Elliott (Def Leppard). If that was the opening link then the closing one was a piece of unfortunate timing, the day after my flight home the Arctic Monkeys were making their New York debut at the Mercury Ballroom, just a few subway stops away. Oh well, maybe next time but for now Strawberry Fields forever. Return of the Vest: Every month AUNTY PANDA gives us her take on the Sheffield Rock and Metal scene. October and November have been months of change in the world of Sheffield Music. West Street Live (previously the 80s bar on West Street) was launched last month, providing a great new venue for the Sheffield Rock and Metal Scene to get involved with. After visiting the venue I felt it placed more emphasis on being a bar. However, with a stage and a decent-sounding PA, more of the "mainstream people" of Sheffield will get exposed to the local music scene which can only be a good thing! The Casbah is no longer working with Brainwash Promotions but this has not stopped either from continuing. Every Wednesday at the Casbah there is a rock night with DJ Mikey Shotgun playing music from Charlotte Hatherley to Metallica via MCR, Therapy?, Ash, Hell is for Heroes and Mansun, well worth checking out. And if that's not enough, "Stormblast" is a new night every Thursday at The Nelson featuring the finest in cutting edge and classic extreme metal. Metal made headlines on 8th November when local metal band, Existend took the title in the South Yorkshire Film Network "2 Weeks To Make It" music video competition. Their track "Screaming, was one of only 23 bands' tracks chosen, and their video, put together by "Watts That Production", came first out of the 19 finalists on the night. Shadowfest with Soundaloud ran an incredible fancy dress Halloween gig last month, full of Metallic Mayhem with Sukmunki and Rumpus amongst others - see the Reviews section for more details. Perhaps the biggest event this month is the retirement of Bonna from promotion duties. Many of you will know him as the "Man with the Hat" from all the Extreme Maggot Infestation gigs and Steel City Metal Fests. A true hero of Sheffield Metal, he will continue rocking out with Maggot for a long time to come, but his promoting days are over - he will be sadly missed by us all. I have been assured that other capable fellows will be taking over Steel City, it is not dead, and long may it survive. Also…Aunty Panda is out and about in December, and onwards, reviewing more local metal bands. Let me know where you're playing and Panda Eyes will be there if I can. Email me at: aunty_panda@yahoo.co.uk with your dates. Metal and Rock pubs to go to in Sheffield: The Moorfoot Tavern (new classic rock bar), Cumberland Street, S1 4PT The Nelson, 23 Furnival Gate, S1 4QR The Casbah, 1 Wellington St, S1 4HF The Sportsman, 24 Cambridge Street, S1 4HP The Dove and Rainbow, Hartshead Square, S1 2EL The Corporation Night Club, Milton Street, S1 4JU Venues and Events: Shadow Fest every two months @ The Boardwalk, Snig Hill, S3 8NA Steel City Metal Fest Saturdays @ The Corporation, Milton Street, S1 4JU Mikey Shotgun every Wednesday @ The Casbah, Wellington Street, S1 4HF Quarantine every Wednesday @ Plan B, The Hubs, Paternoster Row, S1 2QQ Bleach every Wednesday @ Fuzz Club, Sheffield University, Western Bank, S10 2TG Stormblast every Thursday @ The Nelson, Furnival Gate, S1 4QR Metal every second Friday of the month @ The Cricketers, Bramall Lane, S6 4RD Rock and Metal events @ DnR Live DECEMBER HIGHLIGHTS: 65 Daysofstatic, The Mirimar Disaster @ The Boardwalk 1st…Shadowfest: Firegarden + RiseToAddiction + Headup + Skud @ The Boardwalk 7th… Severed Nerve + Faith In Chaos + Dissident + Downslide @ The Corporation 8th… Soundaloud Metal Fest: Existend + Tacoma + The Darwin Theory @ The Grapes 13th… Rumpus + Little Miss Machete + Sukmunki + Maeven @ DnR Live 30th fancy writing a guest column? contact the editor at jan@sandmanmagazine.co.uk or simply send us 500 words on whatever you fancy