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Cherry Street Nightclub


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Sep 27, 2013
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North York
On the other extreme, genuine roots clubs are dropping like unzipped flies:

But the money-grabbing consumer oriented giant operations are thriving with the mindless, soulless and cultureless flocks gravitating like bugs to sugar...Deep Sixed?

Whatever, we get it. Your musical tastes are very sophisticated (unlike your post). Now lets check your article to see the real reason why live music venues in this city are disappearing.
Skyrocketing real estate prices and unmitigated new and re-development. Higher rents are shuttering affordable rehearsal, studio and recording spaces and forcing musicians to move to places like Hamilton. Higher rental fees are making formerly affordable performance spaces prohibitive. It’s been happening for years, but the spate of recent closures illustrates in the direst way possible just what’s getting sacrificed.
Most of these have been in the Entertainment District, where noise complaints from condo dwellers, the King-Spadina Residents Association and the BIA have shut down about 70 nightclubs in the last decade.


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Mar 14, 2016
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Whatever, we get it. Your musical tastes are very sophisticated (unlike your post). Now lets check your article to see the real reason why live music venues in this city are disappearing.
You miss the essential point. It's nothing to do with my musical taste, your taking offence besides, it applies to *all* popular music, this gen's or any other's.

The era of the small club 'making a go of it' is pretty well past, save a few exceptions. *It just doesn't pay* compared to the mass-events that started with Led Zepplin's demanding more money at the Rock Pile forty years ago, or they wouldn't set-up, and it's gone down-hill from there. $100 plus to watch a mass-marketed event? Fuggedit.

What's happened in Toronto is little to nothing to do with noise by-laws, that's a chimera that's confusing you, because it's happening everywhere that land values are skyrocketing:

The UK Guardian:
The slow death of music venues in cities
Small music clubs aren’t just incubators for bands – they play a vital role in a healthy urban ecosystem. What will happen if they all get turned into flats?

“The night-time industries are treated as a poor second cousin. They’re under constant scrutiny in a way that other cultural activities aren’t,” Gieben says. “It’s hard for bands to progress and get bigger in a city unless there is a spread of mid-level venues, and now the option of a venue the size of the Arches has gone from Glasgow.”

The Arches isn’t alone: the Roadhouse in Manchester, the Point and the Barfly in Cardiff, the Picture House in Edinburgh, the Astoria, the Buffalo Bar and Madame Jojo’s in London – all venues that have been lost; many the victims of tough licensing laws, unwelcoming neighbours, aggressive development and an increase in property values.

Mark Davyd co-owns the Tunbridge Wells Forum (capacity 250) and heads the Music Venue Trust, an industry body aimed at preserving grassroots venues, which he defines as anywhere with a capacity under 750.

“The live music industry’s thriving,” Davyd says, “but the smallest venues are falling off the chart. What we’re left with are these megashows with very high ticket prices, which buoy up the headline figure. Will two more new shows at the O2 in London feel the same as 250 shows at a small venue?”

Each city is unique, but while London’s music scene is partly regrouping away from the centre – Hackney thriving while Soho fades – the headline figure is one of decline. Of the 430 music venues that traded in London between 2007 and 2015, only 245 are still open, according to the trust. National figures are currently unknown, but Davyd says he’s been contacted by more than 60 troubled venues in the last year.

“It often starts from a relatively benign decision,” he says. “The Troubadour in London is up for sale because they had a noise complaint related to their use of the garden. Kensington and Chelsea borough said they couldn’t use it after 9pm, their drink turnover went down substantially, and now there’s no guarantee it’ll be a venue in future.

“Someone wants to build next to the Fleece in Bristol,” he continues. “Bristol city council have fought hard for them, but they don’t have any support in law and flats are going to be built 20 metres from the main stage. In the next couple of years there will be noise complaints that will cost the Fleece £12,000 to £15,000 to handle, and it’s not making that in profit. The Point in Cardiff: they installed £68,000 worth of acoustic baffling to stop the complaints from a new development, and servicing the loan put them out of business. These little things just build up.”

Sometimes venue landlords take hard-to-refuse offers for their premises. In Edinburgh, for example, the Picture House was bought by JD Wetherspoon, and the Venue sold for studio and art gallery space. “You can’t blame people for selling up,” says Davyd. “The valuation of the [Tunbridge Wells] Forum as a music venue is about £375,000. If we sell it to be flats, it’s worth about £1.2m. ”
Some cities do have robust music policies that are widely praised: Austin in Texas (home of South By Southwest), Chicago, Adelaide and Melbourne in Australia, various Canadian cities. Many countries in continental Europe subsidise music venues, making a dedicated urban strategy less necessary; but eastern European cities and many UK ones are less forward-thinking. “Mindset is a huge challenge,” says Shapiro. “There are some city councils that don’t see it as a priority, and that’s completely understandable when they don’t have money to provide social care.”

The solution doesn’t necessarily require more money from taxpayers. Instead, Davyd hopes for relaxed regulations, increased statutory protections and reduced business rates (in line with traditional arts venues). “We should stop calling them ‘toilet venues’ and recognise them as innovation hubs and incubation spaces,” Shapiro says. “If you have 25 bands coming through a venue in a month, what you’re actually doing is incubating 25 businesses. Then one of them has a hit song, and that’s an important piece of British IP that’s been beta-tested in these places.”
[...continues at length...]

And I repeat! (And this is applicable to sports, music and many other cultural activities) Support your local purveyors. Don't get merchandised in the name of 'culture', and don't pay through the nose like sheep for mass entertainment.

Now, you were trying to make a point? And let me make it clear, Hugh's Room has never had a noise complaint. Nor have many of the other successful small to medium operations that *can* make it pay, given the chance.

I even favour The Rebel, *AS LONG AS THEY KEEP IT TO THEMSELVES*! Why that point is so impossible for some to comprehend boggles the mind.
Social media, valuable property are killing live music venues
Closings raise fears of lost opportunities for new Canadian performers
By Aadel Haleem, CBC News Posted: Jan 14, 2017 5:00 AM ET Last Updated: Jan 14, 2017 5:00 AM ET

It's a refrain heard in cities across Canada: small but influential live music venues are struggling and closing.

Toronto's The Hoxton and Hugh's Room, and The Carleton in Halifax are among the latest victims of the trend, joining Vancouver's Railway Club, which closed in 2016.

There are a host of reasons, from the changing habits of music lovers to harsh financial realities. One important issue is that some of these venerable venues sit on valuable real estate.

"In a city like Toronto or Vancouver or Halifax, real estate is incredibly valuable when you're in the downtown core," said music publicist Eric Alper.

"Somebody offers you a couple million dollars to put up condos, you're going to think real, real easy on making that transition."

More troubling, however, is that today, "university-aged kids don't go to shows," Mike Campbell, owner of Halifax's Carleton Music Bar and Grill, told CBC News.

"There's a generation or two out there that I would be surprised if they've ever seen live music."

He said the way many people consume music has drastically changed. Young people are more often engaging with and streaming music via mobile apps rather than checking out a new act in person.

"How we all meet now [is] with Facebook, Instagram, Twitter, Snapchat, YouTube, iTunes, Spotify," noted Jason Parsons of Toronto band USS.

He and bandmate Ashley Buchholz are among those lamenting the demise of smaller music clubs — seen as an important incubator for new and up-and-coming performers.

Some of the shuttered venues, like Hugh's Room and the Railway Club, are hoping to reopen in some capacity but it's still unclear what that will look like.

With fewer launching pads, music lovers worry, emerging artists may not have the venues needed to turn them into stars.

Nothing that manufacturing and auto-tuning 'entertainers' that really can't sing will affect, doubtless. Somehow, real singers and musicians are still appearing, Adele and a number of others....and she doesn't even have to have a rapper featured, or dance around doing some ridiculous dip-do-wah thing. There is hope...the music industry has survived crises in the past, but the manufacturing what people listen to now has never been this intense before.

Nice legs...oh, she sings too? Bonus...
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Mar 14, 2016
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And since I have it up on my taskbar:
Closing time: Why some of Canada's music clubs are losing the fight to stay open

TORONTO – Mike Campbell didn’t want his prominent Halifax venue to join the growing list of Canadian musical haunts forced to close.

But when the former co-host of MuchMusic’s 1990s series “Mike and Mike’s Excellent X-Canada Adventures” soon hands over the keys to the Carleton Music Bar and Grill, at least he’ll know he fought to keep it alive.

The longtime champion of East Coast music tried everything, including a crowdfunding campaign to save the Carleton. His appeal to music fans fell short of its goal and Campbell was forced to give up the dream.

New owners will take control of the space — which has hosted Canadian favourites like Joel Plaskett and Ron Sexsmith — as renovations begin and Campbell eases out of his role.

“They haven’t completely ruled out the idea of keeping some sort of live music component,” he says.

“But it’s definitely not going to be the way it was.”

Technological trends, changing listener tastes and a challenging business model are threatening the dedicated performing spaces once home to young hopefuls and grizzled veterans.

Toronto’s Hugh’s Room became the latest to join the death-watch list when its owner Richard Carson abruptly closed the venue last week to weigh his options.

The 200-person capacity restaurant and music venue opened in 2001 as a stage for both local and international performers, and hosted a hearty list of tribute concerts for Canadian legends like Gordon Lightfoot and Stompin’ Tom.

While Carson says nothing is etched in stone yet, he’s still hunting for a viable solution that would keep Hugh’s Room alive.

Other similar money-losing music hubs have seen their hopes dashed in recent years.

Vancouver’s Railway Club left a void in the local music scene when it couldn’t find a buyer last year. Its stage, which once welcomed acts like the Tragically Hip, kd lang and the Barenaked Ladies, was recently leased by a new tenant.

And two years ago, Vancouver lost its only jazz club when the Cellar Jazz Club folded.

Having fewer small venues across Canada makes it tough for many independent artists to tour, suggests Toronto singer-songwriter Jory Nash.

The cost of travelling across such a vast country — with long stretches of highway between each big city — is expensive in itself. Nash says a dwindling number of attractive venues makes hitting the road an even bigger gamble.

“You use certain anchor dates to help you when you’re planning tours, just to make it work,” he says.

“Some of these venues, like a Hugh’s Room, can be critical.”

While it’s impossible to pinpoint a single reason for why Canada’s smaller concert stages are under so much pressure, there are a few recurring challenges.

For one, audience habits have significantly changed, Campbell suggests.

A few years ago it would’ve been common to hit up a pub for drinks before heading to a nightclub, he says, but now many people favour pre-drink gatherings at home.

Or, in the social media age, they may not meet in person at all.

“It’s no longer necessary to get together with a bunch of people in a physical social space,” Campbell says.

He also blamed a barrage of burdensome local bylaws and years of ongoing downtown Halifax construction for contributing to the Carleton’s demise.

Hugh’s Room also struggled with declining attendance on some nights and hoped to buck the trend by appealing to Toronto residents with families. Not only did the venue welcome kids, but its performances started and finished early enough to accommodate a reasonable bedtime.

While Hugh’s Room shows were often sold-out, Carson says he struggled when artists didn’t promote their own gigs. And CD and merchandise sales no longer contributed to the bottom line like they used to.

Independent artists have increasingly turned to streaming music services instead of investing in CDs to sell at shows.

“That used to be part of how I paid my box-office staff,” Carson says.

In the coming days, Carson plans to scour the industry for reasonable options that could save Hugh’s Room. It may include restructuring the business or the option of embracing a not-for-profit model.

“I’m hoping we can figure out a way to keep going.”

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Now lets check your article to see the real reason why live music venues in this city are disappearing.
Most of these have been in the Entertainment District, where noise complaints from condo dwellers, the King-Spadina Residents Association and the BIA have shut down about 70 nightclubs in the last decade.
*Nightclubs* not live entertainment in almost all cases. And I used to live above Brown's shoes on Queen during that time, backed onto "This is London". What a bunch of thoughtless, suburban losers. And the cops were on the take, btw! I won't detail it, it ended up being an internal matter involving sergeants from various divisions other than 52. Many of those nightclubs were illegal in a number of respects, not to mention the shootings in the parking lot at the back. Don't get me started, I had to push the ignorant fugs out of the way to get up the steps to my live-in studio with an almost lame fourteen year old dog, through puke and urine, sometimes even turds.

It's an odd thing, we were rebels when younger, but we didn't do anything like that. Those clubs were closed because they couldn't act at the level necessary to be considered civilized.
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