music

The pipe band's origins are in the military, but are obscure as contemporary historical regimental records had no direct interest in piping, giving only hints at details. The Royal Scottish Pipe Band Association maintains that the origin of military pipe bands are traced back to the early 1800s as soldiers tasked with keeping pace and morale on long marches with their respective regiments. The global spread of piping can also be directly attributed with British colonial expansion. Pipers and drummers in the employ of the British Army and Scottish emigrants brought with them traditional music and the culture surrounding the practice. The music played by pipe bands generally consists of music from the Scottish tradition, the Irish tradition and the Breton tradition, either in the form of traditional folk tunes and dances or popular music that has been adapted for pipes. Examples of typical pipe bands forms include marches, slow airs, jigs and reels, and strathspeys. In recent years there has been a great deal of emphasis placed on new forms, especially the suite. A good example of a suite for pipe band is Don Thompson's composition Journey to Skye (1987). In conventional pipe band music, each section of instruments has a different role in the music. Generally speaking, the pipers deliver the melodic and harmonic material, while the side drummers provide a rhythmically interactive accompaniment part. The tenor drummers provide rhythmic pulses and the bass drummer anchors the rhythms, providing a strong and steady beat. Pipe band uniforms vary from band to band. However, the typical uniform consists of a glengarry (cap), shirt, tie, waistcoat (vest), jacket, kilt, hose and ghillie brogues. Many pipe bands wear a tartan that may reflect the area the band originated from or the history of the band. Jackets and waistcoats are usually black, and shirts are often short-sleeved for comfort. Each band also has its own tie, which can match the kilt tartan, or is sometimes merely a block colour. In competition, appearing smart in uniform is essential; some competitions have dress codes, for instance certain types of jackets only, ties must be knotted at the collar and so on. Pipe bands often vary the uniform worn, depending on the formality of the occasion. Very formal occasions require jackets to be worn, whereas less formal occasions do not, and only the waistcoat is worn. On semi-formal occasions, the jacket is not worn, but a long-sleeved shirt is worn under the waistcoat. This increases the formality of the outfit, but decreases the comfort. On occasion, no waistcoat is worn, in which case the shirt sleeve must be of long length. Pipe Major uniforms are usually different, to distinguish them from the other members of the band. More traditional highland dress may be worn, sometimes with a feather bonnet. Source: en.wikipedia.org/wiki/Pipe_band#:~:text=The%20Royal%20Sco....

'Sorrow Acre' band members Vic, Connor, Jez, and Jaedi -
Via - www.irishrock.org/irodb/bands/zzhelp6070.html#sorrowacre

I see Sat 9th November on one poster. (edited) Could the Yes gag be a reference to the EEC referendum? It was opposed by Labour (Dr. Noel Browne was a Labour TD at the time). Maybe not - that date was a Sat in 1968 and then 1974.

There are several doorways a bit like this one on Hume street, but I don't see an exact match, I suspect this building has been rebuilt since.

There were two referenda on 16th October 1968, both rejected, concerning FPTP voting and constituencies.

Emmet Spiceland at wikipedia. Were active in 1968...

The main competitors in the world record market, The Gramophone Company, and the Columbia Graphophone Company, originally hesitated to enter the Australian market and it took several years before they established record pressing plants in Australia. Whereas the Columbia Graphophone also ran a recording studio from the beginning, the Gramophone Company could not bring itself to operate recording facilities in Australia in order to produce local acts. The Great Depression forced the rivals to amalgamate into EMI also in Australia in 1931. The Gramophone Company The 1898 established British major record company, the Gramophone Company, sent an agent and 25,000 recordings as well as a large number of gramophones to Australia in February 1900 to establish a distribution branch under the direct control of the London parent company. Since the sales figures of the first two years in business did not meet the expectations, the retail business was closed down and sold with the remaining stock to the independent Sydney record retailer Hoffnung & Co. Ltd. in 1905. After World War I, the Australian government enforced a protective economic policy including high tariff barriers and trade restrictions. Thus, when the distribution agreement with Hoffnung & Co. Ltd. expired in 1925, the Gramophone Co. management decided to take the record business again into its own hands and established a gramophone and record plant in Sydney with a capacity of 150,000 records monthly. To cover the whole pacific market two companies were formed. An Australian firm with a production site in Sydney and a distribution branch for New Zealand held by the new Australian company. In mid of 1925, a general manager of the new Australian and New Zealand branches, William Manson, was sent to Sydney and on January 18, 1926, he could ceremonially open the new factory, which immediately started to press the “His Master’s Voice records and the budget ‘Zonophone’ label recordings. The firm’s internal correspondence reveals that the business ran well. The orders could only be met by additional shifts and supplementary shipping from London. Due to a rapidly growing population, the demand for recordings in Australia and New Zealand was far from saturated – in contrast to the stagnating European and U.S. markets. Source: musicbusinessresearch.wordpress.com/2011/05/16/the-early-...