It wasn't meant to be a feast of guitarists but that's how the Saturday at the Kings Place festival turned out for me. I had intended to see only one – Maciek Pysz – but one turned into many, bringing a kaleidoscope of images, colours, shapes and sounds, and most joyous of all was the remembrance of musicians enjoying playing together, and showing it. Most vivid was the bougainvillea-coloured dress worn by Helen Sanderson of Vida Guitar Quartet, its colour and elegant drape giving a sense of occasion sometimes missing in jazz gigs! And what a treat – four classical acoustic guitarists performing recognisable orchestral works but arranged for guitars, with all the notes and sounds you'd expect from an orchestra. Thus we could hear the drums and pipes of Malcolm Arnold's the second set of English Dances tapped out by fingernails. Rhapsody in Blue will never sound quite the same again, the wail of sirens created on strings. Two modern dancers joined the guitarists for Speed Bonnie Boat, the tumble and intertwining of the dancers' flexing bodies making waves on the stage, always landing soundlessly, sometimes hanging in the air. A treat for all the senses.
Earlier guitarist Maciek Pysz and his Trio gathered a huge crowd near the box office. A friend was converted to jazz in just 30 minutes, so powerful and intoxicating was the short set, what captured him was the sense of pleasure communicated to us. He wanted to take it home! I looked round and people were smiling at the music. The music sounded darker than the album, the grey skies and need to fill the echoing space allowed Asaf Sirkis to pump up the volume. The sound was great, no loss of bass for Yuri Goloubev this time.
It was lovely to hear a different style of guitar just an hour later with Nicolas Meier. We headed a bit further east to the complex rhythms of Turkey. I couldn't see how many strings Nicolas's guitar had but it may have been a glissentar, the extra strings adding that distinctive twangy resonance and suddenly Kings Cross became Ankara. A small girl danced and whirled, unaware she reminded us of a dervish, adding to the performance.
No time for food, straight into Martin Speake's Trio and another guitarist – Mike Outram whose quiet presence and delicate introduction to Folk song for Paul (about Paul Motian) moved me greatly, you can hear it below and enjoy this beautifully unhurried modest trio.
And finally a set I admit to being wary of but which left me reeling. No guitars this time. It was Food – Iain Ballamy on sax and Thomas Strønen on drums, Food lite, just these two artists and some electronics. Deep, deep innards-vibrating sounds which mesmerised, pinned me to my seat. Which night club had I wandered into? You didn't experience this through your ears but your vital organs. This was a very different, daring performance, nothing sparce, just sheer enjoyment again, an experiment that worked. A whole day that worked.
An excited full house at Hall One, Kings Place on 25 May 2013. We were there for the launch of Kenny Wheeler's Mirrors, his settings of poems by Stevie Smith, Lewis Carroll and WB Yeates, with vocals by Norma Winstone and the London Vocal Project. My anticipation was sharpened by a pre-concert talk by Pete Churchill. In a short, perceptive and enjoyable talk we learned that Kenny writes deceptively easy music within complex chords, that he allows his musicians freedom to destroy his work, that he creates order out of chaos and madness. Like a swan serenely gliding by, we are unaware of the energy and strength beneath that swan. We learned that sad songs make him happy. And indeed you are constantly teased in this work by the airy voices of the choir, sounding so Sixties and optimistic, contrasting with lyrics rife with loss, death and mourning. How masterly.
So, briefed with his insight, we listened and were rewarded with a glorious performance of Mirrors in its entirety, played without interval. The vast London Vocal Project, led very subtly by Pete Churchill from the far side of the stage, sounded dazzling, the result of five years singing together. Their light and young voices, and obvious love of the music, perfectly enunciated the profound, and at times, quite mad, lyrics. Everyone from the album was there, except James Maddren, replaced by the always reliable Martin France on drums. The sound was perfect, so flawless you didn't have to think about it.
At centre stage, the slight modest figure of Kenny, flanked by Mark Lockheart on saxophones, Nikki Iles on piano and Norma Winstone. All put in bravura, moving performances, Kenny especially so, rising from his chair on at least two occasions to acknowledge our applause, his fragile notes floating in the air. It was a very special, poignant, evening that matched the promise and rewards of the album. There was a real buzz at Kings Place afterwards, as if people did not want the evening to end.


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Is cricket not an inclusive sport?
Thread starter Starfighter
topazann
Cricket Spectator
This could be a personal thing, but for me the beauty of cricket is sometimes in it's lack of popularity. It took me a while to realize what we cricket fans enjoy, in a game that lasts significantly longer even in it's shortest format, is incomparable and unparalleled.
Flem274*
I think this is mostly a problem where there's a really wide stratification of talent (either real or perceived) within a team, and is exacerbated further when there's a big step between levels meaning everyone at the top of the talent tree is effectively an all-rounder by virtue of their exposure to the level above. If your top five batsmen are also your top five bowlers, there's not much need for 8-11 to do anything other than field.
club cricket summarised.
Line and Length
International Debutant
Flem274* said:
Not so with the Club I played for. My best friend (an 'offie') and I (a new ball bowler) batted 10 and 11 (often alternating). Down the grades there were a few examples of players batting in the top 5 and bowling (guilty as charged in my later years) but these were few and far between.
State Vice-Captain
Reminds me of one of my early games. The captain put cricketers he least liked down the bottom of the list. Thus, my bro at #10 and me at #11 (he didn't like our family). Much to our protests that we could bat better, he refused to budge. Come the game, the top order collapsed and the largest partnership was me and my bro in a last wicket partnership that had the opposition running ragged. We could have won that match, but for the idiot captain who took a lot of flak from members and was never made captain again.
State Captain
Back in my playing days, if I was skip, if you were one of the main four bowlers, you didn't bat in the Top Six no matter how good you were. Recreational club cricket is more about the participation than the victory.
The artist formerly known as Monk
I've captained plenty of seasons in lower grade club cricket. When a club is struggling for numbers, you have to give blokes a go, even though you know how crap they are. No one's going to rock up to 20 Saturday summer arvos a year to stand in the field for 80 overs, then sit around (or more likely score or square leg umpire) while the rest bat, before they go in at 10 or 11 and make a duck. And not get a bowl. If you treat guys like that, they'll stop rocking up.
It's a catch 22, because if you wanna start a winning culture, you wanna be able to captain a team the way you want, but from a club perspective, you need to keep guys interested even if they're not very good, otherwise you struggle for numbers in your lowest two grades.
The clubs that do all this most successfully in the lower grades, usually have a core of 5 or 6 older blokes, who have played a-grade in their prime, in their lower grade teams. They know how to win, and they can carry a few less talented guys in a game. It gets a lot harder if you don't have that core to rely on and you've got a bunch of guys in their mid 20s-30s who never played cricket as a kid and want to have a crack but really dont have the experience/talent.
Reactions: stephen and Line and Length
England First
School Boy/Girl Cricketer
This thread should be deleted. It's embarrassing
England First said:
To me it is a case of members relating personal experiences that pertain to the topic.
Reactions: JOJOXI
TheJediBrah
Your face should be deleted. It's embarrassing.
Reactions: stephen, trundler, OverratedSanity and 2 others
trundler
A post so pig headed and obtuse it's entirely befitting for a man who worships Boycott.
Reactions: England First and NotMcKenzie
Prince EWS
I think a more important question to ask, at least in Australia, is: why do we care?
I'm not saying it's wrong to care (it's right IMO) but it's important to swallow why that's the case. We want cricket to be popular so good cricketers can be financially supported while they hone their cricket skills. This will probably seem like Captain Obvious to most people here but (from a single-country perspective at least) it's important to reiterate that's fundamentaly *why* we want to spread the game within the country.
More fans means better cricketers which means more fans etc which means more and higher quality televised cricket for existing fans - we all get it. But does 'more diverse' cricket really deliver this in a way we should care? Even in the 'non-woke' way Starfighter mentions in the OP, who trusts anyone tasked to rectify this to actually make headway? Not me.
Cricket is a game of differing roles, and sometimes your role is gonna suck. I think it'd be great if clubs who kept new players trapped in this way by not sending captains and scouts to training just failed and died, but like, who's gonna police this ****? I don't think it's really solvable. We probably just have to deal with it.

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The Art Fair SourceBook (AFSB) exists to create an independent, one-stop resource for artists and artisans that will best enable them to confidently, efficiently, and effectively select the events most likely to optimize their profits.
We are also dedicated to working with art fair and craft show organizers to help them attract the top professional artists and make their shows the best that they can be by providing suggestions for potential improvements based on extensive feedback from exhibitors.
Who is Greg Lawler?
Since 1993, GREG LAWLER — for the past 50 years a globe-trotting adventurer, photographer, rumrunner, gold smuggler, million-miler, father of five, and grandfather of six — has authored the most comprehensive guide to juried fine art and crafts shows on the planet.
The Art Fair SourceBook was born out of necessity, created by a weary, itinerant artist who was tired of wasting valuable time, money and energy on unprofitable art fairs, and missing the deadlines for some of the most profitable ones.
First created as a personal road map, the SourceBook soon took on a life of its own. Now after 27 years of publication, Greg Lawler's Art Fair SourceBook™ is frequently referred to as the "bible of the industry". You won't find a more thoroughly researched, up-to-date or easy-to-use source anywhere. It's the ONLY guide written from an exhibitor's perspective, by a fellow exhibiting artist who's still in the trenches with you.
Since beginning to show his photography at art fairs in late 1990, Greg has exhibited at over 500 events nationwide. He has tried out nearly every type of event, big and small, distinguished and highly renowned, as well as virtually unheard of. He has exhibited at such highly regarded events as "Cherry Creek Arts Festival", "Sausalito Art Festival", "La Quinta Arts Festival", Belleville's "Art on the Square", "MAIN ST. Fort Worth Arts Festival", Kansas City's "Plaza Art Fair", "Armonk Outdoor Art Show", Chicago's "Old Town Art Fair", "Ann Arbor Street Art Fair (The Original)", "Boston Mills Artfest", "Scottsdale Arts Festival", "Columbus Arts Festival", "Brookside Art Annual", "Sun Valley Center Arts and Crafts Festival", Milwaukee's "Lakefront Festival of Arts", San Antonio's "Fiesta Arts Fair", Madison's "Art Fair on the Square", "Port Clinton Art Festival", "Central Pennsylvania Festival of the Arts", Reston's "Northern Virginia Fine Arts Festival", "Art Fair at Laumeier", "Mt Gretna Outdoor Art Show", "St. James Court Art Show", Beverly Hills' "Affaire in the Gardens", "Tempe Festival of the Arts", "Des Moines Arts Festival", "Ann Arbor's South University Art Fair", "Park City Kimball Arts Festival", Chicago's "57th Street Art Fair", Ann Arbor's "State Street Area Art Fair", Northampton's "Paradise City Arts Festival", Vero Beach's "Under the Oaks Fine Arts and Fine Crafts Show", "Winter Park Sidewalk Art Festival", and scores of lesser known events.
Along the way, Greg quickly learned that not all shows are created equal, and that it's essential to an artist's survival to quickly figure out which shows are most likely to work for them, and which will likely be wheel-spinners, or worse.
How did the SourceBook get started?
One day back in the early 90's I woke up, rolled out of bed, and once again confronted the stacks of applications from scores of art fairs I thought showed potential. The flood of paperwork made me want to get back in bed, pull the covers over my head, and have someone else deal with the deluge. But with a hungry family of five to feed, I knew that was out of the question. I would just have to slog through the information jungle myself.
I knew I wouldn't be able to do all those shows, nor would I ever want to. However, the question of which shows would be most profitable and best suited to selling my work was a critical and persistent dilemma. So on that bleak December morning - even before my first cup o' Joe - I decided to take on the job of researching, analyzing, and organizing the critical information about that mystifying entity we call "The Circuit."
As an act of self-preservation, I created my own guide.
Now - years later - I'm happy I did. As an artist and fellow exhibitor, I profit from all the SourceBook has to offer and so can you (to date more than 20,000 artists have subscribed to the SourceBook over the years, and benefitted from its unique approach). Thanks to this powerful tool you'll be better prepared to deal with the mountain of applications, selecting only the best events for your particular style of creative work. I hope that it saves you valuable time, makes you more money, and smooths out the road to your success as an independent artist.
What is the Art Fair SourceBook?
The SourceBook is the most comprehensive guide to the top-selling art fairs and craft shows in the USA. This means that you know more about an event before you apply than anyone who is not subscriber. You'll learn where the best booth locations are, strategies that make set-up and take-down easier, whether you can expect generators at a show, how many artists applied last year and how many spaces were allotted outside of the jury process.
Starting in 2010, we no longer published the original print format SourceBook. We now provide an even more extensive review of events online. This has several important advantages for you and for our planet.
Since we are not limited by page size, we can provide virtually unlimited data on shows as you can scroll down the unlimited web pages to discover more than any other source provides.
The resource is now instantly updatable. Formerly, once the information was laid down on paper, it was a history book. Now we can update the information on the fly, at a moments notice. Suppose for instance an event organizer makes a change to their show dates or application deadlines. With our online format, we can instantly update the database of information that subscribers see.
We are using far less of the planet's precious resources like paper, ink, plastic, and energy to distribute this information.
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For over 25 years, the SourceBook has collected extensive data on sales and anecdotal evidence from the exhibitors at over 1,000 art fairs and craft shows around the country through it's AFSB Exhibitor Feedback postcards and online at our website. Greg has also personally visited over 800 events over the years, and continues to do so each year.
This information is then read and analyzed by Greg, and presented to our subscribers in his annual "Editor's Commentary" on each of the shows in our "Top 600 Events" list. It's a daunting task, involving hundreds of hours of reading and summarizing literally thousands of reports from artists like you. This process allows Greg to draw from a vast pool of exhibitors' reports to gain valuable insight into today's art fair marketplace.
After more than 25 years, why is the SourceBook still relevant?
With the advent of the internet and Zapplication, JAS, EntryThingy and other digital online application systems, things have changed dramatically for the better. It is now infinitely easier to apply to shows. But, it is also infinitely easier to throw away money on events that may be listed with the big shows, but may not hold a candle to them when it comes to potential for sales. If you are applying to shows just because they are on one of those lists, you may well be risking thousands of dollars needlessly.
But, the essential problem remains the same... how does one choose the events that are most likely to be profitable and worthy of a substantial investment of time and money, and avoid wasting precious resources on the others. It's true that you can easily find thousands of events on the internet to apply to, but wisely choosing between the winners and losers can come only from the kind of independent research provided in the SourceBook.
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Greg Lawler leads the operations and production of AFSB from Vancouver, WA. He also spends enough time on planes each year to earn him Delta's highest Frequent Flyer Status (Diamond) on his way to over 50 shows each year. This is how he learns first-hand the good, the bad, and the ugly about the shows on the SourceBook's list.
Barbara Yankee handles Customer Service and Tech Support and manages the events and subscribers databases from her office in Southern California from 9 am-4 pm Monday through Thursday. Barbara has been with the team since 2004.
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If you have suggestions, please feel free to share them with us by completing a Contact Us Form or just call Greg at 503-704-5122. In the meantime, we'll keep working to produce the very best Art Fair SourceBooks ever.
I trust that this "About Us" page has given you a sense of who we are, what we offer the independent artist searching for information about shows, suppliers and fellow artists, and ultimately helps you succeed in this highly competitive arena we call "The Art Fair Circuit."
Best wishes and see you out there,
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It's become fairly accepted that, when found to be in the wrong, organizations should explain what happened, how they plan to set things right, and how they plan to prevent the same issue from occurring again.
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