Winter in Andalucia http://www.youtube.com/watch?v=SC8wCm680VU

Last Wednesday, January 25th was the day of the Andy Roberts featured evening at Haverfolk, formerly known as Havering Folk Club. Why did they change the name? I don’t really get it, you’d have to ask Simon or Peter. Anyway, after a recent period of not playing guitar so much really, I managed to get in just about the right amount of rehearsal time in the days before and decided to go ahead with the plan of  doing three new songs and basing the rest of the entire setlist on my own material, much as I had done so for the guest night at Romford Folk Club, nearly a year earlier. The full set list for the night as actually played is viewable with links to each of the songs on my own wiki, here at :  January 2012 setlist   and any upcoming gigs are on the Main page, such as the one at Loughton on Thursday April 19th, 2012. Setting off for the venue was a bit traumatic, as an electrical fault had caused a series of cancellations on the main from Liverpool Street Station to Romford, so we went to see what the buses were looking like, just missed one, and saw that the traffic on the main road was choc a block. So we went back to the station and waited for the next train due, which should have been a half hour wait under the abnormal circumstances but then that one was cancelled too. There was nothing for it but to lug the two guitar cases and ourselves onto a busy number 86 bus and just sit it out as we chugged our way up along the occupied bus lanes and through the congested area around Ilford. We would arrive late for the start of the evening perhaps, but not late for my own appearance due around 9 O’clock which in the event we turned up well in time for. So that’s the transport news, then. A bit of a preoccupation with people who live in the London area I’m afraid. The gig itself went well, I thought, I was reasonably happy with the performances and the guitars stayed mostly in tune. The turn out was good, and people said they enjoyed the music, so that’s a big result, and one of the best things is that Linda’s front row video recording managed to capture the full setlist with no problems, so we have a decent audio and visual of all 21 original tunes. There’s a possibility of bringing that out as a DVD which will become the latest release from me to replace the few copies of the “Sampler” EP I’ve been carrying around for almost three years now! I think I ‘ll be turning the soundtrack into three episodes for the podcast series, and uploading a few songs to youTube as well, but the first one I’ve got processed is the finale song where I managed to get two violinists up on stage with me, namely John Foxen and Richie Barratt with Pep on Banjo and I think you can just hear Bernie on concertina and Mickie Brown on harmonica as well. Here’s Cajun Music Cajun Food live at Haverfolk

Never Was To Be from Sunday rehearsals http://www.youtube.com/watch?v=R_D-1cs1Lmc

Hold On Below from Sunday rehearsals http://www.youtube.com/watch?v=3NX5ZcAxuhU

Day 13 Songwriters Circle on YouTube http://www.youtube.com/watch?v=1fIssF1DpMs

A Taste of Spain Delicatessen Box unboxing video on OrganicBoxes youTube http://www.youtube.com/watch?&v=RpNmS4QJI9M

YouTube for Songwriters Andy Roberts http://www.udemy.com/youtube-for-songwriters/

Songwriters Circle on YouTube http://www.youtube.com/user/TheSongwritersCircle

Living Here ( youtube Video song by Andy Roberts ) http://www.youtube.com/watch?v=fY0FcoqmEJI

I’ve just been using ManageWP beta – the web utility for managing multiple WordPress installations – to delete an obsolete plugin from several of my older blogs. The functionality to delete or deactivate plugins was a much requested feature that was added to the many useful operations that ManageWP can perform for you just a couple of weeks ago, and it really does make this web service indispensable for anybody with more than just a couple of WordPress installations. I was recommending before, but even more so now. The plugin I wanted to deprecate in my installations was called Viper’s Video QuickTags, very handy in it’s day for embedding youtube videos withing blog posts, but that functionality was added into the core WordPress code several versions ago, which renders the plugin redundant for me. Plugins and Themes With ManageWP I could select “plugins and themes” from the sidebar, then chose All Websites, tick plugins, active, and search by keyword: “viper”. That gave me a list of five blogs that still had the old plugin active. I could have deactivated the lot in one fell swoop just like that, but I wanted to make sure all my old posts with videos embedded would still work so, without even leaving the ManageWP dashboard, I went to each affected individual WordPress dashboard in turn, and searched through the posts for the string “[youtube”, that being the way the old plugin recognised source posts needing to have the embed code added. I then removed the shortcodes from each end of the video identifier leaving just the youtube url on one line by itself, which WordPress now interprets as a request to embed video inline. Once the legacy code was removed, I could then deactivate and delete the plugin, leaving me with a nice feeling of having tidied up a longstanding loose end.

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For this week’s podcast I wanted to experiment with using Google+ , a new(ish) social networking site which has a feature they call “hangout” for bringing groups of people together by video link. It’s kind of like a group video call with a text chat, so superficially not that disimilar really to the ustream and livestream systems that I’ve been using for the weekly Tuesday night broadcasts up until about April this year. Do you need a Google+ invitation? Click here The Google+ service as a whole is getting a lot of attention even though it only launched to the public this month, and even though the circles metaphor can be a bit cumbersome, there’s a tendency towards fuller conversations and better discovery that makes it interesting for musicians, I think. But all that could change as the new platform develops, we’ll have to see. What intrigues me though, is the way that Google is integrating many of their popular services together, and Google of course is behind youTube. I’ve been waiting for youTube “Live” to open up but for the time being that seems to be open only to a few international TV stations. There is some confusing talk about youTube live being available on Google+ hangouts but thsi always turns out to be about taking the existing youTube live streams and relaying them into a Hangout, rather than using the Hangout to generate a new livestream that can be relayed out into youTube live, and saved as youTube videos in a channel, which the direction I’m probably looking for. Google+ Hangout So we planned to try out the ‘Hangout’ feature within Google+, this Sunday afternoon just gone at 3.00pm, and the result has been incorporated into this Andy Roberts podcast episode #47. Google+ Hanging out If you wanted to take part in future Google+ events with me, or just listen in as it happens, then you would need to activate a Google+ Profile if you don’t already have one, and add me to a circle. Again, if  you need a Google+ invitation you can get one  here Sunday Afternoons, 3.00pm Oh yes, and the other thing that’s changed is that we’ve moved to Sunday afternoons for the regular weekly spot, at 3.00pm UK time, which is currently GMT+1 with daylight saving. That’s 10pm in Beijing. The Sunday afternoon 3.00pm time slot will continue throughout the month of August.  

Podcast 47 Here’s the download and play link etc: Subscribe to the podcast RSS or get it from iTunes Download MP3 to save – 39.69 Mb in size, playtime 28 minutes 49 seconds :- 47 Andy Roberts Podcast Episode 47.mp3 Andy Roberts Podcast #47 Shownotes Show Notes for Podcast 47

Mondura Dam Work is Done Shifting Sands Hesitation Blues (trad?) Home – Roy Harper (Part Song) Mozambique – Bob Dylan The Same Old Rock – Roy Harper (Part Song) Narrow Boats

Today is apparently Alexander Calder’s 113th Birthday and to celebrate, Google have replaced the usual search logo with one of their frequent commemorative logos (doodles), in this case an interactive 2d representation of one of Alex Calder’s famous mobiles.Also, note the shadow below the search box and buttons, and on some laptops, if you rock the laptop from side to side, the mobile moves and swings, making use of the inbuilt accelerometer (Not on iPad though)Thanks for subscribing to Andy Roberts blogAmazing Alex Calder Logo on GoogleRelated posts:SearchWiki from Google is LIVEAt last google reader has a search boxGoogle vs Yahoo

Songwriters work in the shadows, knocking out tunes to order – sometimes in a matter of hours. The songwriters who work for Jay-Z, Adele, Florence and more tell Alexis Petridis how they do it – and why times are getting tough

This article titled “Write me a hit by teatime: the world of professional songwriters” was written by Alexis Petridis, for The Guardian on Tuesday 17th May 2011 20.30 UTC Two years ago, Al “Shux” Shuckburgh found himself catapulted straight into songwriting’s premier league. The Londoner hadn’t expected much from the track he’d produced and co-written at a songwriting session with American tunesmiths Angela Hunte and Jane’t Sewell-Ulepic, about how homesick the pair were for Brooklyn. Later, Hunte sent it to Jay-Z‘s label, Roc Nation, but received a frosty response. Then EMI’s head of publishing overheard it at a barbecue, and decided it would be perfect for Jay-Z. The following night, the rapper wrote his own lyrics, recorded them, and then excitedly told Alicia Keys he had “a song that was going to be the anthem of New York” and asked her to perform on it. Back in London, Shuckburgh wasn’t even allowed to hear the track. “Well,” he says, “I could have heard it if I’d flown out to New York. But they were being so careful about anything leaking. At that point, I didn’t really have a track record, they didn’t really know who I was, so they didn’t know if they could trust me.” In fact, the first time he heard Empire State of Mind was when The Blueprint 3, the Jay-Z album it appeared on, finally leaked online. “It was very weird. I remember listening to it in my studio thinking, ‘Is this for real?’” Shuckburgh sounds more sanguine than might be expected for a man who was actively prevented from hearing a song he co-wrote. Perhaps the subsequent effect of Empire State of Mind on his bank balance and status has eased his pain. The track shifted 4m legal downloads and spent five weeks at No 1 in America, making it Jay-Z’s first US chart-topper. “It’s not like everything’s easy now,” says Shuckburgh. “But everything’s easier.“ Maybe that’s just how professional songwriters tend to be: whatever other attributes the job may require, a giant ego and a sense of preciousness aren’t really among them. This may be why songwriting tends to attract so many former performers, who have either tired of the limelight or watched it fade, and are now making some pragmatic decisions about their futures. Among the more improbable credits on recent hits were the three songs on Beyoncé‘s last album co-written by Ian Dench, formerly the guitarist of 1990s British indie dance band EMF (big hit: Unbelievable); then there’s She-Wolf by Shakira, partly the work of Sam Endicott, moonlighting from his day job as frontman of New York-based the Bravery. The washing machine technique “It’s the kind of job where the best thing you can be is invisible,” says Shuckburgh’s former mentor Eg White. “The very idea of a professional songwriter gets in the way of the singer.” White should know. He began his career as a performer – in boyband Brother Beyond and then in the critically acclaimed Eg and Alice, makers of glossy adult pop. He then went on to become one of Britain’s most successful songwriters for hire. He’s been responsible, or at least partly responsible, for Will Young‘s Leave Right Now, James Morrison‘s You Give Me Something, Adele‘s Chasing Pavements and Florence and the Machine‘s Hurricane Drunk. Tomorrow, as they have been doing for half a century, the Ivor Novello awards will turn a brief spotlight on to the shadowy world of professional songwriters, those people who ply their trade in studios and writing sessions, half-hidden from view, despite being the backbone of the music industry. Up for songwriting awards this year are the composers of such inescapable hits as Tinie Tempah‘s Pass Out, Katy B‘s Katy on a Mission and Plan B‘s She Said. As pop and R&B dominate the charts again (indie bands tend to write their own songs, or if they don’t, they keep quiet about it), the songwriter-for-hire is back in demand. At the top of the UK singles chart sits Bruno Mars, whose songwriting credits include Travie McCoy’s Billionaire and Cee-Lo Green‘s Fuck You. These songwriters do something that seems to go against every romantic notion we have about artistic creativity: they write songs to order (and apparently the current craving among UK labels is for songs that sound like Mumford and Sons, or Florence and the Machine). White, himself the winner of two Ivor Novello awards, is prevailed upon to meet an artist, form a bond, and come up with something chart-topping in the space of a day. “Sometimes less,” he says cheerfully. “Sometimes I get two hours. Someone comes over at three, we have a cup of tea, chew the cud for a bit, go: ‘All right, shall we write a song?’ And by six, they’ve gone home and we’ve fucking done it. Chasing Pavements, that took two or three hours.” Enormously affable, White seems to love every aspect of the process, even being forced to make friends with artists he’s never met before. “You immediately stop observing the niceties of gentle human contact between strangers,” he says, adding that he subscribes to “the washing machine theory” of songwriting. “I tend to play a few records and discuss them: what we need is the beat from that one, the fragility of that one. We try to keep it open, but we talk about the ways it might have precedents in different genres, smash them all together and get something different. If you just put one thing in the washing machine, you’re going to get one thing out; but if you put two or three colours in, who knows what colour’s going to emerge? Pop music is built out of pop music.” This is not an approach adopted by everyone. Jim Duguid, co-author of five songs on the debut album by Paolo Nutini, says: “Some record companies will give you a list of five songs and say, ‘We want something like this.’ But that’s like someone turning up with a BMW, giving you a load of parts and saying, ‘Can you build something like that for me?’ It’ll kind of look like it, but it won’t be right.” Duguid, who was drummer and songwriter with the old band Speedway – of which Nutini was a huge fan, doesn’t care much for knocking out a collaboration in a couple of hours, either. “I try to avoid that like the plague. A lot of industry people think, ‘Yeah, we’ll throw you together and you’ll write a hit in a day.’ But we did that in Speedway and it’s not the way the best music comes out. I like more of a social occasion, maybe three days of chatting and listening to music, then getting a couple of ideas together that reflect that.” The one thing professional songwriters seem to agree on is that times are getting tough. “Having had some success,” says Duguid, “it still shocks me how little money there is in it. I’m lucky in the sense that Paolo is one of the few artists who still sells physical CDs, and there’s money in that. With downloads – at one pence a download between three songwriters – you’ve got to be shifting a heck of a lot of records. The real money’s in getting your song on an advert or on television, but that’s getting harder, because everyone’s trying to do it.” A glorious bloody nose It’s a situation that is changing the nature of recording, says White: “Nobody wants album tracks any more, they just want singles. Before, you weren’t just chasing the money and the radio play – you could do something you really wanted to do, and had thus far been thwarted. Nobody wants the beautiful slow song that ends up as track 11 on an album but that everyone who buys the album will end up loving best of all. It’s down to iPod playing, cherry-picking, downloading. Fifteen years ago, you would hope that albums would outsell singles two to one. Now, I hear stories about Taio Cruz selling 13m downloads and 300,000 albums. And it’s not just him. Katy Perry: massive singles sales, small album sales. For publishing companies, that’s not a disaster – 13m singles is fantastic. But it’s a disaster for record companies and it’s a human disaster. The album is no longer the way people define themselves: there isn’t enough meat in there.” For a moment, White’s ebullience seems to desert him. Then he mentions Adele’s LP 21, which has just spent its 15th week at No 1 in the UK, and suddenly he perks up: he has a song on that. “Oh, that’s a glorious bloody nose to the music industry. Short-termist arses. Start fucking making music with your hearts! The record industry was saying no one was buying records any more, and then someone makes a very stoical, honest, beautiful record and people are buying it in shedloads. Because it’s nutritious.” Anyway, he says, album tracks or not, it’s a great job. “I’ve had Matt Cardle in today. We’ve both been making a fuck of a lot of noise, turning the guitars up really loud.” Matt Cardle off The X-Factor? Loud guitars? Noise? Really? “Yeah,” White chuckles. “Songwriting really is great fun.”

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What’s happening in Bristol’s Stokes Croft area this weekend as young people seemed to want to take over part of the high street late on Thursday night early Good Friday morning. The long hot summer comes early in April this year, and with the provocation of a Royal Wedding coming up, the looters get their retaliation in first. In 2011. the year of the Arab Spring revolutions in Tunisia and Egypt, nothing will be the same anywhere again.

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YouTube is already fundamental to online music, but now it’s expanding its official content and moving into live streaming.

This article titled “Click to Download: YouTube, Cut Copy, Stereogum Monthly Mix” was written by Chris Salmon, for The Guardian on Wednesday 13th April 2011 15.30 UTC At last year’s BT Digital Music Awards, YouTube beat Spotify, Last.fm, MySpace, SoundCloud and BBC 6 Music to the publicly-voted title of “Best Place to Hear Music”. That, as well as the genuinely rapturous response to the site’s win from the audience of young pop fans, underlined the fact that, for many, YouTube is as much a cherished on-demand music listening resource as it is a video site. Now, they’ve expanded that service. Following a number of one-offs, YouTube has unveiled a dedicated streaming section, youtube.com/live, where selected YouTube partners can webcast live. One of the first to take advantage is the Coachella festival, America’s nearest equivalent to Glastonbury, which will broadcast a selection of its acts, from today until Sunday. Head to youtube.com/coachella from tonight to watch live footage of artists, slated to include the National, Mumford & Sons, Duran Duran, PJ Harvey, Interpol and Cut Copy. That last act is also the latest band to appear on the excellent Swedish music TV programme Klubbland, a 20-minute show which features a short interview with a particular artist alongside live highlights of their gig in a Swedish venue. The Cut Copy episode, which you can watch in full at klubbland.se, features the groovesome Australians wandering around Malmo searching out good coffee and old records, before belting out three songs in the city’s Kulturbolaget venue. Meanwhile, the previous episode features Glasvegas discussing their success and playing some of their new songs in snowy Stockholm. Trawl back through the other 27 shows uploaded so far and you’ll find Lloyd Cole, Teenage Fanclub, Lykke Li, Beach House and, perhaps best of all, Robyn. It’s hard to think of a British music TV show as tasteful and enjoyable as this. According to a study of 4,500 US high-school students published last week, only 22% of teenagers would be willing to pay 99¢ to download a single track, despite the fact that 77% of them admitted to downloading music from the internet (with almost two-thirds getting it from file-sharing sites). In that climate, the offer of a (seemingly) legal free download isn’t as exciting as it once was, but it’s still worth checking out the latest Monthly Mix from Stereogum, the mighty US music blog. The compilation, available from bit.ly/sgapril, features 10 mostly-excellent tracks from acts recently featured on the site, including their three latest Bands to Watch, all of which happen to be impressive, female-fronted indie/electro popsters. With the album also featuring a gorgeously sparse track from the new solo album by Smog’s Bill Callahan, it’s definitely worth a download. Send your favourite links to chris.salmon@guardian.co.uk

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Video show the construction well underway of the Orbit Tower at the London 2012 Olympic Park site in Stratford East London. Click here to view the embedded video.   The 115m tall art sculpture with a public viewing platform is formally named the Arcelor Mittal Orbit, and will be 22m higher than New York’s Statue of Liberty when completed, which looks like a matter of weeks as the pr-constructed iron pieces can be seen waiting on the site ready to be welded into place. Further pictures and videos of the growing installation will be uploaded over the coming period.   Thanks for subscribing to Andy Roberts blogLondon Orbit Tower Rises at Olympic Park

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Some interesting ships can be seen docked in the Thames, such as the Greenwich warship a couple of years ago. This weekend brought a Spanish Navy training ship, the four masted tall ship called Juan Sebastián de Elcano which is one of the largest and oldest tall ships still operational.

The video was taken from onboard one of the Hurricane Clipper river boat catamarans which provide a commuter service as well as sightseeing on the river Thames and now accept Oystercard onboard for payment as well as pre-paid tickets.

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Music video website Vevo featuring 30,000 music videos of acts including Lady Gaga and Rihanna could be made available this month.

This article titled “Music video website Vevo to launch in the UK” was written by Dan Sabbagh in Abu Dhabi, for guardian.co.uk on Wednesday 16th March 2011 11.35 UTC The world’s leading online music video site is planning to launch in the UK in the next few weeks, in the latest attempt by the industry to develop new sources of revenue. Vevo, which launched in the US in 2009, carries around 30,000 music videos which are syndicated to sites such as YouTube on a free-to-view basis. Rio Caraeff, the chief executive of Vevo, told the Abu Dhabi Media Summit that the site was “planning to launch in the UK imminently” with some sources indicating a launch could come as soon as this month. Partly owned by two of the four music majors – Vivendi’s Universal Music and Sony Music – Vevo aims to provide advertisers a sanitised online environment for videos from the likes of Lady Gaga and Rihanna against which they can place their advertising. Vevo’s argument is that it is risky for household names to be associated with the full range of YouTube’s content, because so much of the user generated material on the Google-owned site is of varying and uncertain quality. Music promos are among the most popular online videos. Vevo is ranked as the No 1 online music video destination by comScore, reaching 51 million unique visitors in January, marginally ahead of MTV and other Viacom properties on 48 million. Vevo is backed by the Abu Dhabi Media Company, and also features music from EMI, home to Katy Perry and Tinie Tempah, although the British music major is not a shareholder. Warner Music is not involved with Vevo – but is involved in a competing alliance with MTV. Caraeff said Vevo would also become available in the Middle East and north Africa in the coming months, with other European countries, Brazil and Australia following “in the second half [of 2011] and beyond”.   • To contact the MediaGuardian news desk email editor@mediaguardian.co.uk or phone 020 3353 3857. For all other inquiries please call the main Guardian switchboard on 020 3353 2000. • If you are writing a comment for publication, please mark clearly “for publication”.

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Facebook is asked whether businesses and advertisers could make use of the equivalent to one Flickr‘s worth of photos being uploaded each month. SXSW report

This article titled “SXSW 2011: Can Facebook photos be used commercially?” was written by Jemima Kiss, for guardian.co.uk on Saturday 12th March 2011 16.41 UTC Much of the focus of this discussion was inevitably focused on Facebook’s photos product manager, Sam Odio, who disappointingly played the “not my remit’ card when asked the most interested and pertinent questions about Facebook’s use of users’ photos, including facial recognition and how images might be co-opted by advertisers. • Facebook sees “a Flickr’s worth of photos uploaded every month”, said Odio. But it’s worth considering the different values of those two services: Flickr includes some high-quality, well edited photography, while Facebook focuses on storytelling over quality. It doesn’t matter, said Odio, if that first photo of your newborn nephew is blurry: it’s the social context behind the photo. • Odio fielded a question by one delegate about how businesses and advertisers might start appropriating photos for commercial use. “We’re not in the business of selling ads through people’s photos and we want to prevent businesses having free rein over users,” he said. “But businesses are users,” pushed the delegate. Odio said Facebook would want the people in the photos to be telling the story – which means advertising would be there but more subtly, and directed by users. • As for ownership of photos, Odio said that comes down to the need to build the API in such a way that it can access your friends’ photos. If each of those users retained ownership, that would become very complicated. “There are worries we are going to use photos in advertising but it doesn’t really benefit us that much given how sensitive the subject is.” • Yan-David Erlick, a serial entrepreneur who founded Mophot.to, predicted that social photos will become even more integrated with our lives through different sorts of tagging. “Timelines between items will mean that over time, these entities are not viewed as individual pieces of media but will have contextual attributes tying them to other pieces.” • Odio explained how after struggling to keep his startup photo site Divvyshot going in 2009, ploughing in all his own savings, he got a random email one Sunday night. It was from Blake Ross, who later turned out to be co-creator of Firefox, at an address at Facebook. “He said ‘Sam – your site looks interesting. You should come here.’ I was living with six developers at the time and they were all looking over my shoulder to figure out if the email was fake or not.” It was, and Facebook acquired Divvyshot in April 2010. • Feature requests aren’t always the best way to develop a product. Odio said nobody asked for Instagram, which just raised $7m in funding, but now it is taking off. Facebook’s engineers also have a monthly hackathon where they can work on whatever they like; that doesn’t determine product direction but features such as drag-and-drop organisation have come out of that. • On facial recognition, all Odio would say is that Facebook “hasn’t been able to move quickly on it given how sensitive it is”, which does seem to imply it would have liked to do plenty if it could have got away with it. • Odio said a startup should make the product extremely simple; he had got distracted when trying to add too many features and functions. “Focus on one thing and do it extremely well. In early days the product needs to be explained to users in 10 seconds or less.” • One delegate said he was concerned that Facebook is becoming such an important repository for his life, and that photos are the most easily accessible part of that archive compared to status updates or messages. Erlich described the web being used as an external memory for us all, from photos to phone numbers; this ties in with Clay Shirky’s idea of cognitive surplus – if machines can take over the mechanical parts of our brain function, what can we do with the space and energy that frees up?

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Can you be a blogger and respectable at the same time? I hope not.

This article titled “Why would councils want to exclude bloggers and tweeters?” was written by Dave Hill, for guardian.co.uk on Friday 11th March 2011 15.00 UTC Local government minister Bob Neill MP (Con) recently wrote to local authorities as follows: “Bloggers, tweeters, residents with their own websites and users of Facebook and YouTube are increasingly a part of the modern world, blurring the lines between professional journalists and the public. There are recent stories about people being ejected from council meetings for blogging, tweeting or filming. This potentially is at odds with the fundamentals of democracy, and I want to encourage all councils to take a welcoming approach to those who want to bring local news stories to a wider audience.” Excellent advice. But some councils have been slow to get the message. These notably include the famous Tory “easyCouncil” of Barnet in north London, whose leader Lynne Hillan told the Barnet Times:   “The current advice according to the constitution does not allow filming in the council chamber … The only thing we will do is consider responsible media requests, and they are the only thing we would allow at this stage … I do not think we would consider a request from bloggers. Only respectable media would be considered.”  The statement raises an array of questions. What defines some parts of the media as “respectable” and “responsible” and others not? Who does the category “blogger” include? Can you be a blogger and respectable at the same time? I’ve a hunch that Councillor Hillan had a certain person in mind. His name is Roger Tichborne, publisher of a blog called Barnet Eye. The Eye campaigns tirelessly against her administration. Its author’s greatest triumph was successfully complaining that a Tory colleague – the quite astounding Brian Coleman – had breached the council’s code of conduct by sending him an abusive email. Tichborne networks with fellow local online citizen journalists – some of theme dissident Barnet Tories – in one of London’s best-blogged boroughs. Following Hillan’s remarks he attended a council committee meeting as a member of the public and filmed it until another Tory councillor ticked him off, unimpressed by the unrespectable blogger’s protesting that he had legal opinion on his side. But the law shouldn’t need to be dragged into this. Neither should those increasingly meaningless distinctions between citizen journalists and the professional media, not least because plenty of the latter are far less “respectable” or “responsible” than plenty of the former. Little love may be lost between Tichborne and the Tories responsible for emptying his bins, but Barnet town hall should still welcome him. It should welcome anyone prepared to sit through deliberations in its democratic chambers and convey these to a wider public either live or later and whether by blogging, tweeting, audio recording, filming or standing on a street corner waving semaphore flags. So should every town hall in the land. In recent weeks public galleries in London and elsewhere have been filled with hecklers ritually denouncing Labour councils in particular for passing on “Tory cuts” in their budgets. Many of the outraged were ignorant, boring and stuffed with cost-free piety, but at least they were there. Mostly, those galleries are close to empty. The same often goes for the press seats. Councils slammed for publishing their own freesheets often plead that their local papers take little notice of what they do. Often, they have a point. Citizen journalists can help to fill the void. Councils wary of licensing the amateur hordes should look to the top tier of local government in the capital. At London’s City Hall, the Thames-side glass bauble that contains London’s mayors, the main debating chamber enshrines in its very seating plan the non-recognition of any amateur-professional distinction. There is no special section for the press. Instead, anyone at all – the Guardian, Mayorwatch, Adam Beinkov, CyberBoris a school student on an educational trip – can liveblog or tweet, and lots of people do. Still photography is discouraged after the first 20 minutes of each session and the use of flash banned, but in both cases the restraints are simply to prevent noise and other distractions. All proceedings are webcast, but if I wanted to point my digicam at Boris Johnson or the assembly members I’d be as free to do so as BBC London’s camera crews so long as I created no disturbance. I’m told a simple principle applies: “It’s a public meeting. It should be public.” Town halls should take Bob Neill’s advice, and do the same. Who knows, the more open their policies, the more numerous, civil, varied and well-informed those in their public galleries might become, to the benefit of the voters they serve. How could they lose?

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