2016
DOI: 10.1080/2159032x.2017.1330936
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The “Toilet Circuit”: Cultural Production, Fandom and Heritage in England's Small Music Venues

Abstract: In its broadest sense, the Toilet Circuit comprises smaller and independent music venues in the UK that launched many now famous artists and bands, alongside supporting many that are locally known, igniting or sustaining all-important local music scenes and their cultural production. Fuelled by alcohol, drugs and adrenalin, the turbulent atmosphere of Toilet Circuit venues offer escapism for disaffected youth within the seedy aesthetic environment evocative of a recalcitrant culture. These raucous grime-pits p… Show more

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Cited by 7 publications
(3 citation statements)
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References 60 publications
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“…Small live music venues have previously been described as small-to-medium enterprises (O'Connor, 2004;O'Connor and Gu, 2010), contributors to the creative or 'night-time' economy (Florida, 2002(Florida, , 2006(Florida, , 2010Lovatt and O'Connor, 1995), heritage sites Rogers, 2016a, 2016b), small businesses (Holt, 2010), stops on the 'toilet circuit' (Behr et al, 2016a;Miller and Schofield, 2016), or the foundation of a broader 'live music ecology' (Behr et al, 2016b;Parkinson et al, 2015;van der Hoeven and Hitters, 2019;Webster et al, 2018). Australian research on live music venues has been framed primarily in an economic context (Deloitte Access Economics, 2011;Ernst & Young, 2011), or as a reaction to cultural policy (Flew, 2008;Homan, 2008Homan, , 2011Johnson and Homan, 2003), licensing regulations (Burke and Schmidt, 2013) or gentrification (Shaw, 2009(Shaw, , 2013.…”
Section: Small Live Music Venuesmentioning
confidence: 99%
“…Small live music venues have previously been described as small-to-medium enterprises (O'Connor, 2004;O'Connor and Gu, 2010), contributors to the creative or 'night-time' economy (Florida, 2002(Florida, , 2006(Florida, , 2010Lovatt and O'Connor, 1995), heritage sites Rogers, 2016a, 2016b), small businesses (Holt, 2010), stops on the 'toilet circuit' (Behr et al, 2016a;Miller and Schofield, 2016), or the foundation of a broader 'live music ecology' (Behr et al, 2016b;Parkinson et al, 2015;van der Hoeven and Hitters, 2019;Webster et al, 2018). Australian research on live music venues has been framed primarily in an economic context (Deloitte Access Economics, 2011;Ernst & Young, 2011), or as a reaction to cultural policy (Flew, 2008;Homan, 2008Homan, , 2011Johnson and Homan, 2003), licensing regulations (Burke and Schmidt, 2013) or gentrification (Shaw, 2009(Shaw, , 2013.…”
Section: Small Live Music Venuesmentioning
confidence: 99%
“…Important to Sheffield and other cities just as much as it is to Liverpool is the idea that multiple landscapes exist, highlighting the different and diverse ways a city is lived and experienced through music. Second, and especially important in the context of live performance, is the recognition of venues not in a hierarchical sense of rungs of a ladder or markers on the pathway to success, but as part of an ecosystem (e.g., Miller and Schofield 2016) with all venues serving as meeting points for the city's social networks as well as providing opportunities at all levels, whether for performers starting out or those more established in their musical careers. Third, music-making (like any form of cultural practice) is future-oriented.…”
Section: Introductionmentioning
confidence: 99%
“…The conceptual framework is located in the argument herein that virtual event experience is essentially the same as venued event experience yet has some distinct trappings which differentiate virtual from venued [7,10] and is thus not generally seen as equivalent. The extant virtual event technology [2,16], along with the scope for vast development in this area [17], and ongoing economic difficulties for venued event businesses [18,19], point to the potential for virtual events to become a notable element of the event industry. Therefore, this research explores and synthesises these individual conceptual elements to address the research objectives.…”
mentioning
confidence: 99%