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Off the Record with Rob Frith and Howie Vickers


On November 17, 2016 the Museum of Vancouver invited another All Together Now contributor to stop by and discuss their passions and what they collect. Rob Frith, owner of Neptoon Records and a collector of hundreds of rare gig concert posters, expanded the focus of the talk to the era of music he loves - the 1960s and1970s.

Joining Frith was local music icon, Howie Vickers of the psychedlic group The Collectors. Together they chatted about Vickers's start in the music industry and what the music scene was like in Vancouver during the heyday of the psychedelic era. 


The discussion extended to the audience who shared their own memories and asked detailed questions about Vickers's first hand experience of "making it" in the industry. The audience included interviewer and music enthusiast, Nardwuar who was eager to ask a few questions himself including what it was like to open for eclectic singer/songwriter Tiny Tim (see video below). 

Thank you to Frith for conducting a fascinating and personal look at the Vancouver music scene and for giving the audience a taste of what the times felt and looked like with a series of gorgeous concert handbills that are now available for purchase at the MOV Gift Shop.

You can check out more of Frith's collection in the exhibition All Together Now: Vancouver Collectors & Their Worlds, on view until January 8, 2017.

Click HERE for more photos from the event.

 

ReCOLLECTING… 1960s Vancouver Band, The Collectors


Last week, we launched our latest exhibition ALL together NOW, featuring 20 eclectic collections. Everything from prosthetic limbs and pinball machines, to corsets and taxidermy are on display until January 8, 2017. Accompanying each collection, we have incorporated an interactive component to encourage visitors to engage and truly immerse themselves into the collections.


Rob Frith at Neptoon Records. Photo by Rebecca Blissett

One of the collectors included is Neptoon Records owner, Rob Frith. His stunning collection of concert posters offers a glimpse into the past, and an opportunity to discover the legendary artists that played shows in Vancouver. It’s interesting to consider some of the iconic venues that the city has lost, like The Cave Supper Club on Hornby Street or the Embassy Ballroom on Davie Street.


Vancouver band, The Collectors

Along with the posters, a listening station is setup where you can put on a pair of headphones, sit back and listen to some hidden gems which have been tucked away for far too long. Handpicked by Frith himself (from his own personal record collection) the playlist puts a spotlight on local indie artists and past Vancouver groups like sixties psychedelic band The Collectors (what a coincidence!)  It’s how we discovered their hypnotic track “Eyes” which we’ve gleefully featured in our highlight video of the exhibition’s opening night. Check it out below!

According to Wikipedia, The Collectors were originally the house band for CFUN radio during the early 1960s. After a handful of albums and soundtracks to Canadian films, lead singer Howie Vickers left the group in 1969. The remaining members of the band reconstituted themselves as Chilliwack, with Bill Henderson taking over lead vocals.

Music fused with fashion took centre stage in retro concert

Harkening back to a bygone era: Haunting melodies performed at MOV on January 17th, 2015.

Ever want to escape today’s hustle and bustle to a slower more romantic time? Vocalist Patricia Hammond charmed us with her pre and post war era tunes, bringing a poised and elegant presence to the stage. Patricia and guitar accompanist Budge Schachte have a soulful chemistry — evermore so when it was revealed to the audience that they met in person for the first time the day before!

The first half of this MOV event included a selection of 1940s tunes that brought out the hardships and far away travels of these war times when soldiers left their families and lovers behind. Patricia encouraged the audience to join in with “You’ll get used to it”, “Wish me luck as you wave me goodbye!” and “Will meet again some sunny day”.

After a costume change to a more whimsical dress, appropriate for the 1950s post war era, the second half of the show brought a feeling of letting go with songs such as, “This is my lovely day” and “Enjoy yourself.”  “Far away places with strange sounding names” had an emotional resonance that reminded me of adventurous train travels in Europe.

Quite the conversationalist, Patricia revealed her passion for collecting sheet music. She discovered “She wears red feathers and a hootie hootie skirt” at Carillon Music in Vancouver, and performed it for the first time this night, with charm and grace.

Patricia’s 1950s dress had a playful fabric, which swayed as she sang and danced.

She revealed that it was a reproduction designed by Vivien of Holloway, and amusingly mentioned that certain songs tickled the bones of this dress, acting as an “imaginary singing teacher” as she sang. 

To see more dresses from the 1940s and 1950s, visit MOV’s From Rationing to Ravishing Exhibition through March 8th 2015!

 

Sing Along with Patricia Hammond: An evening of music to take you back in time

Transport yourself back in time with a retro musical performance from London England singer Patricia Hammond and accompanying guitarist Budge Schachte. Experience a lyrical journey of wartime and postwar era tunes that will trigger your imagination as you stroll through MOV’s Rationing to Ravishing The Transformation of Women’s Clothing in the 1940s and 1950s  exhibition—free admission with your paid ticket!

After the concert, come explore more than 80 garments presented in the gallery spaces from cocktail dresses to jumpsuits to wartime wedding dresses and much more this Saturday, January 17th from 7:00 to 8:30pm at MOV. A cash bar will be available on site to enhance your evening’s enjoyment!

For further ticket and event information please visit http://www.museumofvancouver.ca/programs/calendar

Museum Monday: Regent Tailors neon sign c. 1946-1975

Regent tailors neon signThis Museum Monday we’re basking in the glow of this iconic Regent Tailors sign (circa 1946 to 1975). Today, the sign hangs in the MOV's Neon Vancouver | Ugly Vancouver exhibition, but it was originally located at 324 West Hastings, it hung across from another famous neon display (at “the Sally Shop”). The Regent Tailors Sign was installed in 1946 — the early beginning of the 1950s neon boom in Vancouver.

You’ll find several smaller treasures in our OpenMOV Collection related to Regent Tailors. These include technical drawings, a business card circa 1950-70, and a couple of charming items collected by Ivan Sayers (of “Art Deco Chic” fame).

One such item is a “Tailors box” (circa 1945-1959). It’s decorated with a quaint picture of a ‘tailor at work’ alongside a snappy blue slogan, “Regent Tailors Ltd. Where Smart Styles Originate”. The strangest find of all? A branded pocket knife (circa 1925-45). Emblazoned with “Regent Tailors Vancouver BC” on its plastic handle, this promotional pocket knife was probably given away with a newly tailored suit. What an odd marketing choice! “Like your suit? We’ll here’s a trusty knife for you…”

The sign itself, was designed and manufactured by the Neon Products Company of Vancouver (located at 1885 Clark Drive). Other custom creations to their credit include the whimsical Artistocrat Restaurant sign and that monolithic beacon for the BOW MAC car dealership. Established in 1928, the Neon Products Company was the earliest and most prolific manufacturer of neon signs in Western Canada.  It is now the largest company of its kind in the world, putting Vancouver squarely on the ‘neon map’ despite local city bi-laws which today strictly limit installations here at home. Ralf Kelman, an artist and self described ‘lighting activist’, collected signs from the Neon Products scrap yard. In 1977 he sold part of his collection to the Museum of Vancouver. As they say, “One man’s trash is another man’s treasure” (or perhaps as museums would say: one man’s “I just don’t possibly have any place to store this old thing anymore” become museological points of interest).

The MOV’s neon collection is still buzzing in the electric glow of our Neon Vancouver/Ugly Vancouver exhibition (which runs through to August 12). The latest news? The Green Couch Sessions and rising indie songbird Adaline came to MOV for a live video shoot in the Neon Vancouver | Ugly Vancouver Exhibition. The humming sound created by the signs was a perfect fit for her song “The Noise”.

 

This video features Adaline on an analogue keyboard/drum machine with Adrian Glynn on acoustic guitar. I especially love this ‘paired down’ production which shows off Adaline’s sweet vocal tone and blends seamlessly into the neon hum. Adaline’s black and silver sequined outfit picks up on the neon scene –shimmering like puddles on a cool midnight street.

Not only did we rock out in the Neon room but we got to explore the vintage clothing exhibit happening in the gallery next door. It was one of the best Monday mornings the Green Couch has ever had…” - Green Couch Sessions

Going, going, but never gone: Bhangra.me

Originally slated to close on October 23, 2011, the coming close of Bhangra.me on January 1, 2012, is bittersweet.  As one of the longest running exhibitions at the MOV, we'll be sad to see this beautiful and rich feature, disassembled.

Launched on May 5, 2011, Bhangra.me: Vancouver’s Bhangra Story was the culmination of over two years of collaborative research, a mini exhibit (April 2010), two community consultations, and hundreds of hours of primary research.  Bhangra.me was a collaboration with the Vancouver International Bhangra Celebration, and was co-curated by community researcher Naveen Girn and MOV's Curator of Contemporary Issues Viviane Gosselin

Beginning with an unforgettable opening party on May 4, 2011 where over 500 people joinedVancouver Mayor Gregor Robertson plays the dhol special guest performers - including Mayor Gregor - in a vibrant celebration of this groundbreaking exhibition.

The research and collecting phase helped generate the first historical interpretation of Bhangra’s significance in Vancouver, and demonstrated its role as a cultural tool for inter-cultural bridging during labour disputes, challenging gender roles and re-imagining the definition of Canadian identity.

What the research, design, and curatorial team hoped to accomplish, was not just mount a beautiful exhibition displaying artefacts, but to use the exhibit itself, and related programming in order to catalyze new understandings about intercultural relations, hybrid identities, and strengthen community ties with(in) the South Asian community in Vancouver.

We're honoured to have Bhangra story mapworked with such amazing people, met so many great Bhangra fans, and we look forward to continuing to see, hear, and share Vancouver's bhangra stories on the Bhangra.me Storymap!

For those of you who haven't seen the beautiful touchscreens inside the exhibition, this is one piece of the exhibit, that will live on, indefinitely.  We invite you to add your story to the map, by uploading a photo, anecdote, to what we hope will become the next natural gathering place for Bhangra fans around the world!

Representing another first for the Museum of Vancouver, this hybrid Drupal/Silverlight powered storymap was a collaboration made possible by a community sponsorship from Microsoft Canada, in particular the Open Platforms crew, lead by Nik Garkusha.  A neat mobile version of the storymap was developed for W7 Phones by Redbit.

In all, with just a week left in what has been a truly remarkable journey, we hope you'll come check it out here at MOV, listen and dance, tell us what you think, and continue the conversation online.

Balle balle!

The Bhangra Project Image

 

I love this picture.

I guess that’s an obvious statement to make but I strongly feel that it exemplifies the key themes that we want to emphasize with the Bhangra Project.

At the top of the picture is the skyline of Downtown Vancouver and this situates the “place” of our historical endeavour.  What is it about Vancouver (or the idea of Vancouver?) that has influenced Bhangra and made its performance and music different from other parts of the world? How has the city affected and been affected by the story of Bhangra?  What makes Bhangra in Vancouver unique?

This also sets a scope for the project.  It includes today’s Vancouver but our also speaks historically to the downtown area, East Vancouver, South Vancouver, Main Street, Gastown, Chinatown, Commercial Drive, Kerrisdale, Oakridge, UBC and past Boundary Road into Surrey, Richmond, Burnaby and beyond. It speaks to the diverse “soundscapes” and dance forms that are produced here and internationally.  Wherever the music and dance go, it takes Vancouver with it.

The second element is the gorgeous archival picture in the possession of Mr. Paul Binning of PAAR Club.  It features an image of Shaminder Grewal who was a dancer from the Sialkot region of Punjab, Pakistan.  There’s an element of youth and exuberance in his pose that evokes that iconic idea of Bhangra with which many of us are familiar.

As a historical artifact I can’t help but focus on unique elements: the curved stick decorated with various studs, the vest decorated with hearts, his hoop earring, and especially the half moon design that he’s drawn over his right eye.  There’s so many questions I have about this picture too: Why was it taken? Where was it taken? Was it for a competition? An ad? And some questions that are just fun to ask: what colour is his vest, turban and ring, for instance?

A part of me thinks these ambiguities allow our imagination to fill in the blanks and (more importantly) leave spaces for discussion and dialogue.

The lower third is something central to the way we’re researching our project.  The female hand seems to contemplate the picture and skyline together and rather than being voyeurs, it incorporates us (the viewer) into the discussion, too.  How do we situate ourselves with the past of Bhangra in Vancouver?  What parts of if do we highlight? What elements resonate with us?  A key facet of this exhibition is to include as many voices as possible in telling the story of Bhangra in Vancouver and female practitioners as well as DJ’s, singers, musicians & Bhangra lovers are integral to this story.

So that’s my opinion of the Project Image.  I guess I could talk for hours about it (does it seem like I have?) but what does it evoke for you?  Is it an engaging picture? Does it raise questions? Does it answer questions?

Naveen Girn is currently a cultural researcher on the Bhangra.me Exhibit which looks at the history of Bhangra in Vancouver and opens May 2011. You can learn more about the project by following his blog and twitter.

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