Q&A: Becoming Capital of Culture
Liverpool has been designated a European Capital of Culture for 2008, earning a platform to showcase its cultural life and attract visitors.
But how did it earn this status in the first place?
The European Union launched the Capital of Culture programme to replace the City of Culture status, which began with Athens in 1985.
Every EU member state has been awarded the accolade on rotation for the years up to 2019, and the UK allocated 2008.
It was left to the UK government to decide which of its cities would be nominated.
The Norwegian city of Stavanger has also been named a Capital of Culture for 2008.
How was Liverpool chosen?
Initially, a dozen cities were contesting the title, and a 12-person committee of judges was appointed to evaluate their bids.
THE ORIGINAL ENTRANTS
Belfast
Birmingham
Bradford
Brighton and Hove
Bristol
Canterbury and East Kent
Cardiff
Inverness and the Highlands
Liverpool
Newcastle and Gateshead
Norwich
Oxford
It was chaired by the former general director of the Royal Opera House, Sir Jeremy Isaacs, with ex-BBC presenter Sue MacGregor and Judith Mayhew from the Corporation of London as the deputy chairs.
After the judges visited all 12 cities, they announced a final shortlist of six in October 2002.
The other contenders were Birmingham, Bristol, Cardiff, Newcastle-Gateshead and Oxford.
How did the judging panel weigh up the candidates?
The six cities on the shortlist were visited again and given a chance to expand on their proposals.
Finally, the bidding teams each faced a 90-minute grilling from the judging panel.
The committee then recommended to the Department of Culture that Liverpool be named the eventual winner.
Why was Liverpool chosen?
It was a close-run race but in the words of Sir Jeremy Isaacs, chairman of the judges' panel, what swung it for Liverpool was a "greater sense... that the whole city is involved in the bid and behind the bid".
He added: "A little bit of extra zip from the fan club helps."
Liverpool's cultural strengths include the largest collection of Grade II-listed buildings outside London, one of the best collections of European art outside London - and of course its status as the birthplace of the Beatles.
The then Culture Secretary Tessa Jowell had also highlighted the competition's role as "an engine for regeneration".
Story from BBC NEWS:http://news.bbc.co.uk/go/pr/fr/-/1/hi/uk/7179306.stmPublished: 2008/01/11 10:21:47 GMT© BBC MMVIII
Tuesday 22 April 2008
Monday 21 April 2008
Capital of Culture Row
This article appeared in the Guardian on Wednesday January 09 2008 on p7 of the Society news & features section. It was last updated at 23:48 on January 08 2008.
Preparations for Liverpool's year as the cultural hub of the continent have been marred by in-fighting, claims of plots and cancellations. In the Tate gallery in Liverpool's Docklands stands a giant sign formed from plastic light bulbs. The installation, by Turner-prize nominee Nathan
Coley, reads: "There will be no miracles here."
As Liverpool kicks off its year as European Capital of Culture on Friday without an artistic director, its culture company chief executive awaiting a reported £250,000 payoff and two of its most senior politicians under investigation, the fact that the event is taking place at all challenges the artist's statement.
Since Liverpool won the bid to host the event in June 2003, preparations have been marred by furious political in-fighting, resignations of senior figures, alleged conspiracy plots and cancellations.
According to Mark Featherstone-Witty, chief executive of Liverpool's Institute of Performing Arts (Lipa), many of the problems stemmed from an inability to separate the cultural programme from local politics. The Liverpool Culture Company (LCC) was formed, but with around 65% of its funding and most of its staff coming from the local authority, independence was always unlikely. "The city council produced the chimera of separateness, but that's all it was. That was the first fundamental mistake," says Featherstone-Witty.
A bitter feud between the then leader of the council, Mike Storey, and the council's chief executive, Sir David Henshaw, resulted in the resignation of both men.
There were also grumbles about the appointment of Australian cabaret singer and festival director Robyn Archer as creative director of the LCC, the body charged with organising the year. "We thought, is there no one capable of doing the job in Liverpool? No one in England? . . .
It was all rather damaging," says Featherstone-Witty. Though appointed in 2004, Archer only came to work full-time in Liverpool in April 2006 after troubles obtaining a work visa. Four months later she had quit with a reported £125,000 payoff.
Two executive producers, Claire McColgan and Fiona Gasper, took control of the programme, working closely with the heads of the city's main arts organisations.
There was further controversy last year when the popular Mathew Street festival had to be cancelled at the last minute because of health and safety fears, says Liam Fogarty, a local journalist and head of the campaign amayorforliverpool.org. "It symbolised the seat-of-the-pants approach to decision-making in Liverpool," he argues.
In the latest political row, the former council leader Storey and the current chief, Warren Bradley, are to be investigated by the local government watchdog, the Standards Board for England. They are accused of holding a secret meeting in December with the council's former event manager, Lee Forde, at which they allegedly conspired to remove the current LCC chief executive, Jason Harborrow. Harborrow, who has spent much of the past few months on sick leave, is reportedly to receive a £250,000 payoff.
Bradley admits the political brawls risk detracting from Liverpool's big year. "Sadly, it does [overshadow] things," he says. Refusing to be drawn on whether Archer's appointment was a mistake ("I wouldn't like to comment on that") or the situation with Harbarrow ("As far as I know, Jason is on sick leave"), Bradley says the opportunity to change how the rest of the world sees Liverpool must not be missed. "This cannot but be a success for the people of this city. We cannot fail," he says.
But even success comes at a cost. The city council has identified a budget gap of about £20m for the next year: a result of hosting the capital of culture. With council tax increases capped at 5%, the council will be forced to borrow money, sell off council land, refinance assets, or use up most of its financial reserves to raise the funds.
Do Liverpudlians have a right to feel aggrieved about the inevitable council tax hikes, seeing as payoffs to senior executives have been costly? "The people of Liverpool want to make sure we deliver a superb capital of culture. If we really put Liverpool on the map - that's what is important," says Bradley.
The 12-month cultural celebration - featuring a concert at Anfield football ground, an exhibition of Gustav Klimt's work, Sir Simon Rattle conducting the Berlin Philharmonic, and hundreds of smaller events - has that potential.
Can the year be a success despite the maelstrom that has surrounded it? "Absolutely," says Elliott. "It's a regret that these issues are still around, but you can feel the excitement ... 2008 will be a fabulous celebration of Liverpool's quality, its edginess and quirkiness. And knowing the people of Liverpool, it will be quite a party."
This article appeared in the Guardian on Wednesday January 09 2008 on p7 of the Society news & features section. It was last updated at 23:48 on January 08 2008.
A people’s poem for Liverpool’s birthday
Poetry written by Merseysiders makes up the 800 line Liverpool Saga to celebrate Liverpool's 800th birthday. The Liverpool Saga is an 800 line poem written by people from across Merseyside to celebrate Liverpool's 800th birthday.
Mersey poet Roger McGough wrote the opening and closing verses, taking his inspiration from the creation of the original Letters Patent, although he admits that the first line was harder to pen than he had imagined.
BBC listener's and web users were invited to send in their contributions to The Liverpool Saga which was then compiled in to a full length poem.
Local poets Sylvia Hikins and Dave Ward whittled down over 500 submissions to create the
finished saga. Roger McGough's introductory lines apart the whole saga has been written by Merseysiders. The finished saga has now been mixed as a radio programme by Radio Merseyside producer Pauline McAdam.
Listen to the full Liverpool Saga >
Help playing audio/video
“We’re talking about 800 years and the time of King John and so forth," says Roger McGough of the saga's span.
"There were no processors in those days no electricity – it would have been a quill pen or something started the whole thing and then 800 years later people working on a computer so its that moment of time and all that length of time."
The Liverpool Saga launch
There were over 3000 lines sent in for The Liverpool Saga covering subjects including the river, factories, sport, families, disasters and music across the 800 years of Liverpool's history.
When initially launching the Liverpool Saga project Roger McGough was clear about how he thought it would develop, “Its got to be Liverpudlian – it’ll be witty and cheeky and all those good things. I suggest four lines at most – it could be two lines or an image or something overheard. I’d rather have two good lines than twenty eight. Quotable lines.”
The Liverpool Saga was first unveiled publicly on Saturday, 15 September by Roger McGough and Phil Redmond at Liverpool's St George's Hall during The Big History Show.
The Liverpool Saga
From the first tentative scratch of the penTo the keyboard’s final breathless amen,One poem. A patchwork of laughter and tears.Eight hundred lines. Eight hundred years.
800 years, oh what stories to be toldBy the people young and old -The bad times, the good times, tears and laughter.The next 800 memories are left to the young to tell thereafter.
*
I’m a Liver bird, verdigris and aloof.
They made me their emblem,They made me rustproof
And I’ll not leave this city, cos I’m tied to the roof.
Eight hundred lines is not enough
To tell your twisting tale.
What word will whisper lives now lost
In a puff of wind and ghost of snow?
So wind on through the years, old friend,
For oh so old you are.
I’ll carry you within my heart
Though I wander near and far.
Seven streets, a pool and a castle,
That’s how it all began.
A port to sail to Ireland from
Was King John’s crafty plan.
Jesters, jongleurs, troubadours,
Mummers of St George.
Through centuries of song and satire,
Scouse-sharp wit was forged;
From medieval minstrels
Using humour as their tool,
We are all born entertainers –Yet we’re nobody’s fool.
From first monk-steered ferry
To great ocean liner
Via car ferry Sea Cat
What sight could be finer
Than Liverpool’s lifeblood
Murky and grey?
River Mersey wash over me,
Whisper where your secrets lie.
I shall tell you of my familyAnd promise not to cry.
A city haunted by her past lies dreaming of her future:
The river has seen it all and bears silent witness.
Through Jesse Hartley’s growing dock
Came merchant shipping round the clock.
The port of Liverpool expanded
With every cargo newly landed.
As Mersey pilots pass the bar,
They’re guided into dock
By sighting our lady Graces
And the Liver clock!
The ferry waits but not the tide.
Blue-jerseyed men shout “Gangway Clear!”
We’re chugging away
Away from the Pier.
I’m off on the Ferry
To New Brighton Sands,
Jam butties and water bottles
Clutched in my hand.
Wind in my hair,
Salt water on my face -
My Liverpool, My home, My own special place.
Wondrous river,
Full of power and might
Flows past a city,
A heritage site.
Has anyone heard the Liver Bird -a song,a shout,a single word?
An “alright,” a “hiya”? from up there on high
Nah, me neither– maybe it’s shy.
Come on down to Liverpool beach:
Mist rising from the water in cold dawn air.
The sky is on fire: red, gold and blue.
Those seagulls, mate,
They’re bleedin’ hard.
They’re loud and tough and battle scarred.
They’d mug you for a pasty crust
And knock you to the floor concussed
The ships and the docks and the overhead train -Childhood memories…
As a lad with me mates
On a summer Sunday afternoon,
We’d walk from the bus at St Johns Lane
Down to the Pier Head,
Through the eerily quiet Dale Street and Water Street
To see Sandy and the escapologist
Entertain the crowds.
“ ‘ere luv duz dis bus stop at the Pier ‘ead?”
“Der’ll be a bloomin’ big splash if it duzn’t!”The smiling driver said.
They was launching a ship in Camell Laird
But the bottle wouldn’t break.
All hands were standing puzzled
Til some wag in the crowd
Shouted out loud“Give it to Dixie,
He’ll break it with ‘is ‘ead!”
Granda Van Engel passing through
To a New World wide and new
Placed his luggage,Carefully laid
On Hope Street flags,
And there he stayed.
www.bbc.co.uk 18/05/2007
Mersey poet Roger McGough wrote the opening and closing verses, taking his inspiration from the creation of the original Letters Patent, although he admits that the first line was harder to pen than he had imagined.
BBC listener's and web users were invited to send in their contributions to The Liverpool Saga which was then compiled in to a full length poem.
Local poets Sylvia Hikins and Dave Ward whittled down over 500 submissions to create the
finished saga. Roger McGough's introductory lines apart the whole saga has been written by Merseysiders. The finished saga has now been mixed as a radio programme by Radio Merseyside producer Pauline McAdam.
Listen to the full Liverpool Saga >
Help playing audio/video
“We’re talking about 800 years and the time of King John and so forth," says Roger McGough of the saga's span.
"There were no processors in those days no electricity – it would have been a quill pen or something started the whole thing and then 800 years later people working on a computer so its that moment of time and all that length of time."
The Liverpool Saga launch
There were over 3000 lines sent in for The Liverpool Saga covering subjects including the river, factories, sport, families, disasters and music across the 800 years of Liverpool's history.
When initially launching the Liverpool Saga project Roger McGough was clear about how he thought it would develop, “Its got to be Liverpudlian – it’ll be witty and cheeky and all those good things. I suggest four lines at most – it could be two lines or an image or something overheard. I’d rather have two good lines than twenty eight. Quotable lines.”
The Liverpool Saga was first unveiled publicly on Saturday, 15 September by Roger McGough and Phil Redmond at Liverpool's St George's Hall during The Big History Show.
The Liverpool Saga
From the first tentative scratch of the penTo the keyboard’s final breathless amen,One poem. A patchwork of laughter and tears.Eight hundred lines. Eight hundred years.
800 years, oh what stories to be toldBy the people young and old -The bad times, the good times, tears and laughter.The next 800 memories are left to the young to tell thereafter.
*
I’m a Liver bird, verdigris and aloof.
They made me their emblem,They made me rustproof
And I’ll not leave this city, cos I’m tied to the roof.
Eight hundred lines is not enough
To tell your twisting tale.
What word will whisper lives now lost
In a puff of wind and ghost of snow?
So wind on through the years, old friend,
For oh so old you are.
I’ll carry you within my heart
Though I wander near and far.
Seven streets, a pool and a castle,
That’s how it all began.
A port to sail to Ireland from
Was King John’s crafty plan.
Jesters, jongleurs, troubadours,
Mummers of St George.
Through centuries of song and satire,
Scouse-sharp wit was forged;
From medieval minstrels
Using humour as their tool,
We are all born entertainers –Yet we’re nobody’s fool.
From first monk-steered ferry
To great ocean liner
Via car ferry Sea Cat
What sight could be finer
Than Liverpool’s lifeblood
Murky and grey?
River Mersey wash over me,
Whisper where your secrets lie.
I shall tell you of my familyAnd promise not to cry.
A city haunted by her past lies dreaming of her future:
The river has seen it all and bears silent witness.
Through Jesse Hartley’s growing dock
Came merchant shipping round the clock.
The port of Liverpool expanded
With every cargo newly landed.
As Mersey pilots pass the bar,
They’re guided into dock
By sighting our lady Graces
And the Liver clock!
The ferry waits but not the tide.
Blue-jerseyed men shout “Gangway Clear!”
We’re chugging away
Away from the Pier.
I’m off on the Ferry
To New Brighton Sands,
Jam butties and water bottles
Clutched in my hand.
Wind in my hair,
Salt water on my face -
My Liverpool, My home, My own special place.
Wondrous river,
Full of power and might
Flows past a city,
A heritage site.
Has anyone heard the Liver Bird -a song,a shout,a single word?
An “alright,” a “hiya”? from up there on high
Nah, me neither– maybe it’s shy.
Come on down to Liverpool beach:
Mist rising from the water in cold dawn air.
The sky is on fire: red, gold and blue.
Those seagulls, mate,
They’re bleedin’ hard.
They’re loud and tough and battle scarred.
They’d mug you for a pasty crust
And knock you to the floor concussed
The ships and the docks and the overhead train -Childhood memories…
As a lad with me mates
On a summer Sunday afternoon,
We’d walk from the bus at St Johns Lane
Down to the Pier Head,
Through the eerily quiet Dale Street and Water Street
To see Sandy and the escapologist
Entertain the crowds.
“ ‘ere luv duz dis bus stop at the Pier ‘ead?”
“Der’ll be a bloomin’ big splash if it duzn’t!”The smiling driver said.
They was launching a ship in Camell Laird
But the bottle wouldn’t break.
All hands were standing puzzled
Til some wag in the crowd
Shouted out loud“Give it to Dixie,
He’ll break it with ‘is ‘ead!”
Granda Van Engel passing through
To a New World wide and new
Placed his luggage,Carefully laid
On Hope Street flags,
And there he stayed.
www.bbc.co.uk 18/05/2007
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