Course:GEOG350/2024/Music and the City

From UBC Wiki

Introduction

Live music venues shape urban space beyond their function of entertainment. They are places where people connect with identity in the city, serving as platforms for cultural exchange, facilitating community engagement and shaping the social fabric of urban life. Musicians in Vancouver face the disheartening reality of being marginalized and displaced within the city's urban landscape.[1] This chapter explores the role of live music venues in Vancouver’s urban dynamics. We will investigate how spatial arrangements can enhance cultural diversity and empower communities grappling with placelessness.

We focus on the placemaking of live music venues in Vancouver, investigating the relationship between spatial regulation and spatial practice. Gentrification and municipal barriers limit the freedom of music gatherings in the city. To resist displacement, venues adopt secretive tactics to operate discreetly. Our methodology will incorporate a range of case studies to illustrate different forms of place-making for live music venues, demonstrating dynamic adaptability, both spatially and socially. We provide insight on the insurgent spatial dynamics of informal or illegal underground venues, which epitomize Lefebvre’s urban spatial theory, showcasing resident participation in shaping their environment and exploring the interplay between space and place(lessness).[2] Live music venues make Vancouver’s spaces into lived-in social hubs, exemplifying the transformative potential of community resilience.

Guidelines for this Chapter

This chapter will explore the relationship between live music venues and the production of urban space in Vancouver. We establish the terminology of the ‘local’ music ‘scene,’ building from geographic literature on music ecologies. We encourage you to question the parameters of what constitutes a venue - how would you recognize a venue? If a location only sometimes hosts live performances, when does a place become a 'venue'? Where does the local music community manifest in Vancouver? These questions prompt us to think about how places become imbued with additional meaning through how live music spaces function and develop with community over time.

Consider these photos of house shows in Vancouver, and the boundaries of private / public spaces. Are these venues?

A house show hosted in this author's living room in 2023. Is this a venue?
Local band 'Mom Cuts My Hair' plays at a house show in 2023. Is this a venue?
Compare previous house show images to this - another house show at a place that often hosts events in their basement, which has been transformed to accommodate a stage and a larger crowd. Can we consider this to be a venue?

We contextualize venues within theories of place-attachment and belonging, exploring the sociocultural value of small live music venues and their significance to the urban communities of Vancouver. We show the spatial manifestation of venues is challenged by financial and regulatory pressures, considering gentrification, by-laws, and official municipal strategies. Drawing upon Douglas’s concept of guerilla urbanism, we explore how the local music community continues to shape urban fabric through place-making and spatial insurgence.

Defining ‘Local’ and the ‘Scene’

Vancouver’s urban landscape is continuously produced through its inhabitants and broader geographical contexts. Similarly, ‘local’ music industries develop in relation to other localities or global networks. The ‘scale’ of a music scene is both a worldwide industry and a localised cultural pursuit, but investigating the relationship between layers of scale goes beyond this chapter's scope. We use the phrase ‘local music scene’ to capture the interconnected network of venues, events, and participants that constitute the live music landscape in Vancouver.

The idea of a music ‘scene’ has increasingly become the subject of academic exploration. “A music scene is the people, organisations, events and situations associated with the production and consumption of a particular musical style." [3] Literature often employs the term ‘music ecologies’ to encompass a similar focus. Van der Hoeven & Hitters (2019) explain that the term "ecology" highlights the dynamic, interconnected, and interdependent nature of these elements.[4]

Public discourse around urban development often emphasizes the economic impact of local music. However, we must also recognize sociocultural urban systems to assess the impact of live music venues in the urban landscape. Van der Hoeven & Hitters distinguish between social value and cultural value, and discuss indicators of sociocultural value (including concrete spaces, activities, and characteristics). This chapter’s examination follows their framework. We bring the social functions and inherent cultural value of the live music scene to the forefront.

We recommend readers visit the page 'yvrunderground' here. Run by Sasha, an active member in the local scene, the Instagram account captures a diverse representation of what the local music scene presently looks like in Vancouver

What Counts as a 'Venue?'

A ‘venue’ can take many forms. Places can be made into venues by co-opting otherwise-designated space - consider the ‘Khatsahlano Street Party’, an annual festival in Kitsilano Traffic is diverted from the busy commercial street of West 4th, the road is lined with retail booths, and stages are set up in side-streets.

For those interested, you can find the schedule for this year's Khatsahlano event here (on July 6th, 2024)[5].

A live music venue is any space, formal or informal, where music is performed before an audience. In analyzing what constitutes a "venue" in Vancouver’s live music ecology, we should consider the broad spectrum of locations where live music thrives, from established concert arenas to open-mic pub performances.

The crowd at Khatsahlano Street Party, 2022

Our scope is skewed towards stories of the alternative/underground music scene. While major venues contribute to the accessibility of a city's cultural offerings, grassroots and underground scenes play a pivotal role in generating and influencing mainstream culture. These smaller, independent venues are often vital to a city's music ecology, fostering musical experimentation and cultural diversity. Our analysis prioritizes this sub-cultural skew towards smaller venues due to the nature of change within cultural experimentation and transmission of new ideas and norms through broader urban networks. The richness of cultural offerings in a city depends upon the generation of culture, which occurs in grassroots, alternative, counter-cultural spaces.[4] Since we are interested in looking at how places of live music are created, and in turn how these places shape urban space, this chapter centers the transgressive side of the music scene. DIY venues are more likely to cater to niche tastes or host relatively inexperienced bands, and create spaces where it is safe to experiment, push boundaries, and challenge norms.

The Fox is a larger venue in Vancouver that tries to keep its space accessible through initiatives like their '4x4' Thursdays - four bands for $4 entry. You can learn more in this CityNews clip (which features UBC students in the band 'Rosemary Ginger').

This chapter aims to demonstrate how the variety of venue settings showcases spatial flexibility and dynamism. However, our discussion also critiques the constantly changing landscape of local venues. Aligning with O'Connor (2002), “the spotlight is on attempts by a music scene to establish and maintain a continuing presence - a fixed social and geographical base."[6] It is these fixings of scene activity that develop locally specific and vital infrastructure.

Place Attachment, Belonging, and Geographic Imaginaries

Key Concepts and Theoretical Framework

Live music venues warrant scholarly examination as a distinct spatial category within the discourse of place attachment, geographic imaginaries, and notions of belonging. Place attachment encompasses the emotional bonds individuals form with specific locations. Live music venues generate shared experiences of music and performance, and become cherished landmarks imbued with personal and collective significance. Venues evolve into places where memories are forged, identities are expressed, and social connections are strengthened. Green (2018) studies Vancouver’s venues as “integral spaces of socialization in which scene participants actively produce identity, culture and community," showing that “music venues are more than just neutral containers that house the activities of local scenes, but are in fact centralizing nodes in the often-intricate local scene network to which participants attach significant meaning in terms of both personal and group identity,” (p. 77).[7] Live music venues contribute to notions of belonging by reflecting (or challenging) cultural narratives, thereby shaping residents' attachment to their urban environment. Consider this comment from Michael, a local drummer with 13 years of experience playing shows in Vancouver:

“My life without them [the community] would be a dull, beige, live-laugh-love waste of water if it wasn't for the opportunity that these spaces provide. My experience in DIY venues has been overwhelmingly positive. They tend to accept nearly anybody except for harmful people, and it has been a forgiving space to practice and hone my craft. It provides a wonderful sense of community - for example, I just found out I was at a show where [my friend] played drums for [my bandmate] several years before I had met either of them.”

Live music venues also shape ‘geographic imaginaries,’ which refers to the mental representations and perceptions of places and spaces that influence how people understand and interact with the world.[8] Experiences with the music scene influence how individuals conceptualize ‘Vancouver’ and construct their identities in relation to place. These conceptual parameters justify this chapter’s interest in live music venues.

“Live music can be part of a city's heritage, offering a sense of pride and belonging to people. This heritage includes both physical elements (e.g. iconic venues) and intangible practices (e.g. annual performances and musical traditions)." [4]

Municipal Forces and Urban Context

There are many urban forces that live music venues contend with to assert spatial presence. As of 2020, Vancouver is the second largest live music venue market in Canada, and Canada is the eighth largest music economy globally.[9] Vancouver's music scene faces challenges amidst a broader trend of venue closures - about 15% of small venues have permanently closed in Ontario since 2010.[10] Ironically, “threats to live music venues come at precisely the time when culture, creativity and performing arts are increasingly positioned as important to urban economies." [3]

Listen to this CBC Podcast, “Where have all the small concert venues gone?” They discuss the root causes of venue closures and identify potential solutions for revitalizing local music scenes.[11]

Unique elements in Vancouver exacerbate closures. The challenges faced by venue operators are multiscalar, encompassing neighborhood networks, political decision-making, and broader cultural and economic considerations.[12] The combination of a hypercompetitive real estate market and the 2010 Winter Olympics has intensified gentrification, causing a significant loss of affordable property and widespread displacement. Alongside financial pressures, stringent by-laws and complex permitting processes make it difficult for new venues to survive, pushing the city’s cultural life into more informal and transient spaces.[13] The following sections outline key factors that alter the spatial manifestation of live music venues in Vancouver. We examine municipal regulation and enforcement, gentrification and market pressures, and the city’s ‘Vancouver Music Strategy’ to conclude with an overview of the current state of the scene.

Bureaucratic Barriers and Political Pressures

Vancouver has gained a reputation for its lackluster nightlife, often dubbed ‘No Fun City.’ This reputation inspired a 2010 documentary that features the closure of 'The Cobalt,' an iconic punk venue in Vancouver's Downtown Eastside. The owners faced eviction in 2009 as the costs of regulatory compliance became unviable.[14] A year after building inspectors demanded the installation of a new floor, the Cobalt was charged $2,000 by the city to cover up graffiti in the building's breezeway. "We're broke, and the city's after us," says Cobalt manager wendythirteen.[15]

Watch 'No Fun City' (2010) here. Prompted by the eviction of Cobalt manager wendythirteen in 2009, the directors aim to present “a passionate tale about a tight-knit music scene and its ongoing battle for a place to call home."[14]

Municipal inspections and enforcement are critical in the relationship between spatial regulation and spatial practice.[2] Inspections increase operational costs due to the ‘constantly shifting bar’ of regulatory compliance in Vancouver.[16] To evade inspections, venues operate more discreetly. This response enables Vancouver’s live music scene to survive - but clandestine operation creates safety and accessibility issues.

Gentrification and Live Music Venues

Gentrification has displaced many small independent music venues in Vancouver, driven by real-estate pressures and the costs of regulatory compliance. Gentrification increases start-up costs for potential venue operators and restricts the areas of the city where venues can afford to operate.[16]

Ironically, small music venues often serve as early catalysts in the gentrification process. “Music venues and other outposts of the ‘night-time economy’ are initially valued in redevelopment strategies that tend to eventually portend their doom."[16] Venues play a significant role in transforming neighborhoods by attracting diverse crowds and enhancing cultural appeal. They draw foot traffic and boost the economic activity and value of an area.

Small music venues cannot pass on incurred business expenses to consumers as "most attendees are youth and artists with limited disposable income."[16] Vancouver’s residents also contend with the cost-of-living crisis, and “although those who participate in local music scenes are not always marginal in terms of class, they are often marginal in an economic sense.”[17] Many new small venues operate on a volunteer basis because they don’t generate enough revenue to pay wages. This model becomes unsustainable as volunteers burn out or require income.

Smaller venues are unable to compete for spaces against entertainment corporations with greater financial means, as seen in the case of ‘The Cobalt.'[7] Consequently, live music venues open in locations farther from the urban center.[16] As venues are pushed to the periphery, other challenges emerge. Venues require certain infrastructural conditions to thrive - customers are less likely to frequent venues lacking accessible transit, and regulations differ between Vancouver’s municipal zonings. The operational resilience of small venues increasingly requires stealth and invisibility. Word-of-mouth promotion through social networks becomes key to the scene’s survival, which can strengthen community belonging but also minimize accessibility.
'Goosehunt' is an annual event organized by a music club at UBC called 'Blank Vinyl Project' (BVP). This photo taken of a poster in Woodward Library at UBC's campus shows BVP's marketing strategy employs secrecy as a promotional tool.

By-laws, Regulations, Permits, Restrictions

Vancouver’s municipal by-laws and regulations can be complex. Policies fail to support accessible, safe, and affordable spaces conducive to a vibrant and inclusive music culture. Regulations include noise curfews, short-term alcohol licensing, and by-laws that restrict dancing.[16]

Businesses are only expected to comply with by-laws that existed at the time of the building’s construction, until major renovations or changes in use are required.[16] Emerging venues must conduct renovations according to today’s more stringent building codes, requiring upgrades that can cost millions of dollars. The costs associated with by-law compliance force many venue operators to “ignore these rules and keep their unofficial changes of use hidden from enforcement personnel."[16]

Caitlin Gilroy of the Safe Amplification Site Society, a Vancouver non-profit dedicated to music for people of all ages, says that “music is being treated like an illicit activity.”[16] However, there are spatial inconsistencies in the impact of these restrictions due to the distribution of inspection and enforcement. Surreptitious operation is easier in Vancouver’s peripheral neighbourhoods, since central gentrifying areas are prime targets of inspection.

This table summarizes some key by-laws in Vancouver, with suggestions for potential changes in policy implementation.[16]

Bylaw Explanation
Building Bylaw and Fire Bylaw, City of Vancouver Vancouver has a separate Building and Fire Bylaw codes than the rest of the B.C. province, which restricts and limits the number of people allowed inside Vancouver venues.
Changes is use, City of Vancouver The Vancouver building bylaw could reduce its standards for older buildings to accommodate music venues to repurpose the space originally not designed for public gatherings.
Exhibition Licenses, City of Vancouver Event organizers in Vancouver must obtain exhibition business licenses, and the City of Vancouver can exempt these licenses for small concerts organized in venues already licenses for safety.
Noise Control Bylaw, City of Vancouver Vancouver’s noise control bylaw imposes strict noise limits and creates a challenge for community music venues.   Decibel levels can be increased for compliance.
Cabaret and Restaurant Guidelines, City of Vancouver Cabarets and class 2 restaurants in Vancouver can host live music and dancing but are restricted to additional guidelines that impose specific rules that can be eliminated.
Inconsistent zoning and licensing terminology, City of Vancouver Vancouver’s license by-law and Zoning and Development Bylaw use different terminology to categorize community music venues, creating complexity on how the venues are defined.
Undefined zoning usages, City of Vancouver Section 2 of Vancouver’s Zoning and Development Bylaw does not clearly define “hall,” “community centre” or “neighborhood public house” as community music venues.
Number of Events, City of Vancouver Arts Events Licence Venues in Vancouver are limited to three Arts Event Licences per month, and many music venue operators therefore avoid obtaining licences entirely because of the law enforcement.  
Flooring, City of Vancouver Arts Event Licence Arts events are restricted to ground-floor or basement venues with fire sprinklers and concrete floors on solid ground or floors certified as structurally safe.
Locations, City of Vancouver Arts Event Licence Arts events in Vancouver are restricted to the Downtown, Downtown Eastside, False Creek, industrial, historic, or commercial zones, and venue operators often lack awareness of these boundaries.    

Municipal Efforts to Support Live Music

The Vancouver Music Strategy is an urban planning policy that aims “to catalyze sectoral growth and development across the industry."[9] The council approved the Vancouver Music Strategy in 2019 alongside the city’s 10-year culture plan ‘Culture|Shift’. Their strategy aligns with a larger trend of city music plans that emphasize economic opportunities over the inherent cultural and social value of live music scenes. Strategies that position arts and cultural activity as a vital component of a vibrant city “often displace and/or cause tensions for the spaces in which cultural and creative activity takes place during and after such regeneration.”[18]

Despite the City’s proclaimed sociocultural priorities, their urban planning strategies “instrumentally reduce cultural vibrancy to an economic agenda”.[4] The live music scene of a city develops symbolic stature that attracts tourism - Vancouver’s strategy considers the promotion of live music as a planning tool for economic development and urban regeneration.[4] Focusing on new business and tourism at the expense of local residents drives up the cost of rent and land, paradoxically "driving out marginal cultural producers and destroying what genuine diversity the city had in the first place."[17]

Challenges persist beyond municipal control, necessitating collaborative efforts with industry partners and community stakeholders to address systemic issues and sustain Vancouver's music scene. There is a strategic direction to employ cross-sector collaboration between musicians and industry professionals to strengthen networks, mentoring, workshops, and the continuation of music businesses.[9]

The State of the Scene

Recent trends highlight both vulnerability and resilience within Vancouver's music ecology. The closure of small local venues has dwindled opportunities for emerging musicians as community-oriented spaces give way to mass-consumption venues. Limited by the city’s spatial regulations, the underground music scene is pushed to appropriate urban space to carve out their own place for expression in the city. Small music venues attract diverse crowds and facilitate cultural exposure and collaboration, bridging social fragmentations around inequalities of class, gender, sexuality, and ethnicity.[4]

'Dead Man's Hand' play at 648 Kingsway in February, 2024
The city boasts a variety of nightlife venues and infrastructure, but their use remains limited due to safety concerns and entertainment preferences.[9] The infamous ‘Granville Strip’ exemplifies this dichotomy: at night, it is known for high cover charges and public drunkenness, but draws diminished response from authorities compared to other parts of the city.[19] Safety in Vancouver’s music scene is complex and beyond the scope of this research, especially considering socio-spatial inequalities.

For this chapter, we can draw on social geographer Gill Valentine, who illustrates that public space is occupied and controlled by different groups at different times.[20] There is a relationship between women’s fear of male violence and their navigation of urban space. Larger venues often imply conformity with hegemonic norms and prejudices, potentially leading to unsafe experiences for marginalized residents. Such concerns lead many to seek alternative nightlife options in smaller music venues.

Making Space: 648 Kingsway
648 Kingsway is one local music venue that creates space to intentionally address social inequalities in Vancouver. Co-owners Clara and Sho opened '648' in 2022 to cater to marginalized communities within the city, specifically showcasing BIPOC, LGBT+, and femme-fronted talent.[21] This represents an example of residents re-shaping urban space to combat spatial inequalities. Venues like 648 Kingsway improve accessibility for performers of diverse backgrounds.

Notable Features:

The streetview of 648 Kingsway is relatively inconspicuous. Everyone enters through a back alleyway entrance. (Google Map Street View, Nov 2022)
Note - a close look at this photo shows that in the window, a very small 'next event' sign is posted. (Google Maps Street View, Nov 2022)














Community Initiatives

Lefebvre’s Urban Theory, Guerrilla Urbanism, and Spatial Insurgence

The loss of cherished venues is felt symbolically within the community. Memories and emotions associated with venues contribute to one's sense of belonging and identity within the city. Frustration and resistance towards imposed spatial restrictions become defining characteristics of the scene itself.[3] Alternative venues emerge in reaction to displacement, allowing scene participants to set their own standards for social order and organization.[7]

Live music venues emerge through a complex interplay of spatial regulation, spatial practice, and representations of space.[2] Spatial regulation could refer to municipal rules and restrictions, through zoning, by-laws, and enforcement. It can also refer to socially enforced regulations, which establish hegemonic expectations of acceptable behavior, appropriateness, and what is valued. Vancouver’s music scene shapes the urban landscape despite regulatory suppression, often manifesting in forms of 'guerrilla urbanism.'[23] Urban spaces are co-opted to meet the community's spatial demands. This insurgence takes various forms, including DIY pop-up venues, house shows, and temporarily appropriated public spaces.

Claiming Space: Victory Square

Spatial insurgence in Vancouver is seen in the example of Victory Square, a public park in Gastown that occasionally hosts free outdoor concerts in the summer. The shows are organized by James Andrew, manager of the nearby venue 'Buddha’s' (formerly 'Smilin’ Buddha Cabaret') in the Downtown Eastside (DTES). Buddha's' faced suspected arson in 2023, leading to ownership changes due to repair costs.[24] To transform Victory Square into a venue, Andrew lugs a rented generator into the park, bands unload their gear, and a ragtag crowd is attracted through word-of-mouth networks and foot traffic.

Victory Square is temporarily transformed into a local music venue, co-opting public space for the local music community. The sky tower can be seen in the background, showing the central location of the park.
'Seizure Salad' plays at Victory Square in the summer of 2022.




Full Circle: First Nations Performance

Snotty Nose Rez Kids, previous performer 2019
Garret T. Willie, Photo Courtesy of Talking Stick Festival, 2024
Legal avenues are also pursued to facilitate space for live music, as exemplified by organizations like 'Full Circle: First Nations Performance.' Their initiative addresses spatial inequalities experienced by Indigenous artists in Vancouver, promoting community well-being through music and mitigating cultural erasure. Indigenous peoples of Metro Vancouver have unique potential to co-lead multicultural initiatives, yet the Indigenous music community remains underrepresented in Vancouver’s industry.[9] Full Circle creates inclusive spaces for professional development within the mainstream music industry. Committed to strengthening Indigenous representation and network relationships for developing musicians, they emphasize the inseparability of art from the Indigenous community and its central role in health and happiness. Full Circle supports a range of performance opportunities, open to all ages and Indigenous backgrounds. One specific initiative, the Talking Stick Festival, is regarded as North America’s Premier Indigenous Arts and Culture Festival. This festival celebrates Indigenous traditions, culture, and history, showcasing the power of live music to nurture thriving urban Indigenous communities.[25]

The Talking Stick Festival runs for two weeks every summer. The festival was founded in 1992 to showcase diverse musical performers throughout various venues across Vancouver.[25] The event is promoted in June to commemorate National Indigenous History Month across Canada and Turtle Island. This rich celebration of Indigenous culture and community works to inspire, educate, and entertain. They have partnerships with the City of Vancouver and other arts associations including Vancouver Civic Theatres and the Vancouver International Jazz Festival.[25] Full Circle co-presents an "Indigenous Summer Stage" with the Coastal Jazz & Blues Society to promote and feature Indigenous local artists at the Vancouver International Jazz Festival, demonstrating an example of cross-sector collaboration to enhance diversity and accessibility in the local music scene.

Lesson Learned

This chapter has outlined the importance of the local music scene in Vancouver’s urban fabric, and their catalysis of innovation and cultural transformation. We incorporate theories of place attachment, identity, and belonging to demonstrate the social and cultural value of small music venues. Shown through case studies and theoretical grounding, live music venues present in many forms, demonstrating the dynamic nature of urban space. Regulated by municipal restrictions, by-laws, and social prejudices, the urban landscape is also shaped by spatial practices. Places in Vancouver are made into cultural hubs of expression by the local community. Forms of guerrilla urbanism and spatial insurgence present through the discrete operational practices of local music venues.

Moving forward, Vancouver’s urban planning could do more to affirm that small music venues have an important place in Vancouver by centering local residents, artists, and venues. For example, installing the required amenities for permanent concert infrastructure within urban parks could offset upstart costs for future festival hosts. Changes in city zoning and regulatory restrictions could broaden the locations accessible to emerging venues. Planners also need to develop new solutions for noise management. According to Alex Clarke of the Vancouver Police Department, “noise is a low priority for police, who are much more concerned with promoting safety than quiet.” However, there is an irony in the outcome of Vancouver’s present regulatory practice - complaints-based enforcement is producing the opposite result, as pressure to avoid complaints reduces neighbourhood impacts but creates unsafe conditions inside venues (for example, showgoers may smoke inside underground venues if they are unable to convene on the street to avoid triggering complaints.[16]

Embracing change and experimentation is essential to propel the mission of local music culture forward. The community is actively exploring opportunities to uplift marginalized artists and musicians, promoting broader social solidarity.[26] By supporting local venues, we can cultivate healing within marginalized groups in Vancouver. Considering the places of live music venues in Vancouver presents a unique opportunity to understand how the city's urban fabric is dynamically produced.

References

  1. ↑ Music Canada (2016). "BC's Music Sector: From Adversity To Opportunity". Music Canada.
  2. ↑ 2.0 2.1 2.2 Lefebvre (1) Harvey (2), Henri (1) David (2) (1996). The Production of Space. Malden, Massachusetts: Blackwell.
  3. ↑ 3.0 3.1 3.2 Gallan, Ben (Mar. 2012). "Gatekeeping Night Spaces: the role of booking agents in creating 'local' live music venues and scenes". Australian Geographer. vol. 43, no. 1: pp. 35–50 – via Taylor & Francis Online. Check date values in: |date= (help)CS1 maint: extra text (link)
  4. ↑ 4.0 4.1 4.2 4.3 4.4 4.5 Van Der Hoeven, Arno; Hitters, Erik (July 2019). "The social and cultural values of live music: Sustaining urban live music ecologies". Cities: The International Journal of Urban Policy and Planning. Volume 90: Pages 263-271 – via ScienceDirect.
  5. ↑ Kitsilano West 4th Avenue Business Association (24 June 2024). "Khatsahlano Street Party Schedule 2024". Khatsahlano Street Party.
  6. ↑ O'Connor, Alan (2002). "Local scenes and dangerous crossroads: punk and theories of cultural hybridity". Popular Music. 21: 225–236.
  7. ↑ 7.0 7.1 7.2 Green, Katie Victoria (Mar. 2018). "Trying to have fun in 'No Fun City': Legal and illegal strategies for creating punk spaces in Vancouver, British Columbia". Punk & Post-Punk. vol. 7, no. 1: p. 75 - 92 – via Intellect Discover. Check date values in: |date= (help)CS1 maint: extra text (link)
  8. ↑ Gregory, Derek (1995). "Imaginative geographies". Progress in Human Geography. 19(4): 447–485.
  9. ↑ 9.0 9.1 9.2 9.3 9.4 City of Vancouver (2019). "Vancouver Music Strategy" (PDF). City of Vancouver - Parks, recreation, and culture.
  10. ↑ Silver, Daniel; Bunce, Jonathon (2023). Reimagining Music Venues. Toronto: School of Cities & University of Toronto.
  11. ↑ Eqbal, Amelia (October 10, 2023). "Where have all the small concert venues gone?". CBC Arts.
  12. ↑ Fast, Danya; Cunningham, David (Aug. 2018). "'We Don't Belong There': New Geographies of Homelessness, Addiction, and Social Control in Vancouver's Inner City."". City & Society. vol. 30, no. 2: pp. 237–62 – via AnthroSource. Check date values in: |date= (help)CS1 maint: extra text (link)
  13. ↑ Murphy, Peyton (June/July 2023). ""648 Kingsway: Old Space, New Rules"". Discorder Magazine. Vol. 40 No. 03 – via issuu. Check date values in: |date= (help)
  14. ↑ 14.0 14.1 James, Melissa; Kroll, Kate (2010). "No Fun City". Vimeo.
  15. ↑ Lucas, John (August 12, 2004). "The Cobalt Closes". Georgia Straight.
  16. ↑ 16.00 16.01 16.02 16.03 16.04 16.05 16.06 16.07 16.08 16.09 16.10 McCormick, Ryan (Summer 2017). Opening Up Community Music Venues in Vancouver. Vancouver: School of Public Policy - Simon Fraser University. line feed character in |title= at position 34 (help)
  17. ↑ 17.0 17.1 Shaw, Kate (2013). "Independent creative subcultures and why they matter". International Journal of Cultural Policy. 19(3): 333–352.
  18. ↑ Ballico (1) & Carter (2), Christina (1) & Dave (2) (2018). "A state of constant prodding: live music, precarity and regulation". Cultural Trends, 27:3, 203-217. 27:3: 203–217.
  19. ↑ Baker, Michael B. (2014). "No Fun City". Offscreen. vol. 18, no. 11-12 – via ProQuest.
  20. ↑ Valentine, Gill (1989). "The Geography of Women's Fear". Area. 21: 385–390.
  21. ↑ Murphy, Peyton (June 19, 2023). "648 Kingsway: Old Space, New Rules". CiTR 101.9 FM, Discorder Magazine.
  22. ↑ Smith, Charlie (December 8, 2021). "The Toast Collective is closing its doors at 648 Kingsway after more than a decade". Georgia Straight.
  23. ↑ Douglas, Gordon (June 2020). "Kong at the Gates: Guerrilla Urbanism and the Possibility of Resistance". Urban Design International. vol. 25, no. 2: pp. 203–08 – via Springer Link.CS1 maint: extra text (link)
  24. ↑ Lapierre, Megan (Aug. 2023). "Vancouver Venue Buddha's (f.k.a. Smilin' Buddha Cabaret) Target of Suspected Arson". Exclaim. Check date values in: |date= (help)
  25. ↑ 25.0 25.1 25.2 "Full Circle: First Nations Performance". Full Circle. 2024.
  26. ↑ Lopez, Joey (Apr. 2019). "Vancouver's Shrinking Nightlife Scene Is Bringing Artists Closer Together". Vice. Check date values in: |date= (help)
This resource was created by the UBC Wiki Community.



Retrieved from "https://wiki.ubc.ca/index.php?title=Course:GEOG350/2024/Music_and_the_City&oldid=841516"