The history of any developing organisation is inevitably characterised by change which when viewed in retrospect is usually seen to have been of such a gradual nature as to have been almost imperceptible at the time such change occurred. Nevertheless, there are periods when recent or ongoing circumstances produce a momentum which challenged existing doctrines and philosophies so that rapid change with profound and immediate consequences for human society cannot fail to engender an awareness on the part of those whose lives are touched by its occurrence. The advent of the 1960s marked the onset of such an era. Designated at the time and acknowledged by subsequent generations, the period is known as the ‘swinging sixties.’ The precise origin of the change is difficult to define but its effect occurred at a time when following a necessary period of social, economic and political adjustment after the conclusion of the Second World War during which a societal post mortem had taken place questioning old mores and traditions, a popular consensus had developed which had challenged the status quo in the name of general liberalisation and individual freedom of conscience and behaviour. It was against this background that the affairs of the Knottingley Silver Prize Band were conducted and although in most respects the history of the Band at that time is a continuous narrative of events shaped by actions which occurred in previous periods, the two decades commencing with the late 1960s are punctuated by conscious desire to promote deliberate change.

A manifest change occurred in June 1961 when the Band for the first time on record declined an invitation to participate in the annual civic parade which accompanied the assumption of office by the Chairman of Knottingley Urban District Council. The record does not specify the reason for the decision of the Band Committee but it may have been a measure of protest against the lack of assistance from the Council following the evacuation of the Band from its long-time bandroom in order to facilitate the redevelopment of Aire Street. (1) Temporary accommodation had been acquired at the Railway Hotel, Hill Top, by courtesy of the licensee, Mr K. Draper. However, residence was somewhat tenuous, being subject to the favourable outlook of any future licensee. Awareness of this fact prompted the Band Secretary, at the behest of the Committee, to write to the Council in August 1962 and seek to revive the promise of assistance by the Council concerning the provision of land suitable for the construction of a bandroom. (2) As a result, an informal discussional meeting took place with Council officers at the Railway Hotel a few weeks later. The meeting was of brief duration

“owing to lack of privacy on this occasion”

but the deficiencies of the venue emphasised the necessity for the Band to find a more suitable location for a bandroom. (3)

While awaiting a formal response from the Council the interest of the Band was aroused in a plot of land situated near Jacksons (Anvil) Bridge belonging to the British Waterways Board. (4) However, nothing appears to have developed following the official awareness of the site nor in connection with another proposal at that time which was to make an offer of £200 for an unidentified plot of land described as 'adjoining Mrs Hardy’s', which was subject to building approval from the Town & Country Planning Department, a fact which may explain the absence of any further action by the Band Committee. (5)

A further avenue was opened in July 1963 when it was decided that the

"offer of land by the N.A.D.S & S. Club be accepted."

So conclusive did the offer appear to be that a decision was taken to seek the services of the locally born architect, J.L. Poulson, with a view to designing a new bandroom, hopefully, in the awareness of Poulson’s generosity, as a donation to the Band. (6) Once again, however, the project was abandoned with no recorded explanation and the problem was still unresolved a year later when the Band again declined to attend the proposed Civic parade. (7) The sense of grievance is more clearly defined at this time for the following month it was resolved to seek a meeting with Cr. William O'Brien regarding

"the attitude of the Council to the Band's repeated requests for land as the site of a bandroom.” (my italics)

O'Brien pledged support for the Band's efforts, accepting an assurance en passant, that the failure of the Band to attend the civic parade which marked his inauguration as the Chairman of the K.U.D.C. was not motivated by personal or religious considerations. (8) The wheels of progress made little discernible advance, however, but in January 1966 the Band Secretary was delegated to meet Mr Fred Taylor of the K.U.D.C. Surveyors Department to discuss plans for a new bandroom. (9) By that date the Band had moved from the Railway Hotel and was using the premises of Knottingley Conservative Club as a bandroom. (10) Unfortunately, there is no formal record of the transfer of the location nor the circumstances which precipitated the move but it is known that by the Spring of 1963 Kenneth Draper had ceased to be the licensee of the Railway Hotel, a fact which may not be unconnected with the removal of the Band thereafter. (11) Likewise, the move to the Conservative Club may have been precipitated by the fact that the virtually homeless Band was provided with sanctuary due to the participation of several of its members in social activities organised by and centred on the Club at this period. (12) It is an indication of the desperation of the Band to acquire a base at this time that any feasible solution was considered. One of the more outlandish suggestions of that period was made by a political opponent of Cr. O'Brien's Labour group, who assured the Band that he would seek to have the bandstand located in Knottingley Playing Fields boarded up in order that it might serve as a bandroom. Naturally, nothing came of this proposal which the bandsmen regarded as political opportunism. Whatever, it yielded no material benefit to the beleaguered Band (13) The move to the Conservative Club was clearly regarded as a temporary measure, as shown by a meeting of the Band Committee on the 19th July 1966

"to finalise selection of the type of building for use as a bandroom."

but again, nothing materialised from the discussion. (14)

Something of the Committee's frustration in being unable to find suitable and permanent accommodation for a bandroom may have prompted the decision to write to Mr W.U. Gregg, reminding him that he was still Band President. (15) Reading between the lines it is quite clear that the Committee felt that too little (if anything at all) was being done by the President to assist them to find a solution to their problem. It is equally clear that Gregg's response (if any) was of a negative nature for in November 1967 a further letter was despatched asking Gregg if he still desired to remain as President. (16) Any response by the President is unrecorded but his casual 'hands off style appears to have continued for there is no indication of any support, moral or material, and the Band was left to approach sympathetic parties to elicit contributions, conferring the nominal status of Vice President upon donors. (17)

For some time thereafter the subject of a new bandroom appears to have been left in abeyance for it was not until 1976 that the matter was revived. In consequence of the reorganisation of local government in 1974 the K.U.D.C. became defunct, being replaced by the larger, more impersonal, Wakefield based, Wakefield Metropolitan District Council. As a result, late in 1975 the Band adopted a proposal to affiliate with the new Authority's Advisory Sports Council whose function covered a wider sphere of cultural activity than suggested by its title. It was hoped that through affiliation the Band would obtain some assistance in finding permanent headquarters. The hope was reinforced when a meeting was scheduled with Council representatives at the bandroom for 7th January 1976. Parallel developments overtook the purpose of the proposed meeting, however, resulting in its cancellation. (18) As the result of a public meeting held in Knottingley Town Hall, the W.M.D.C. Amenities Officer had offered the prospect of a more positive source of assistance and this was followed up in February 1976 but the matter was then left in abeyance pending the outcome of a further meeting between the representatives of the District Council and members of a Town Committee which had been established at the recent public meeting. (19)

The public meeting held in Knottingley Town Hall in October 1975 had been convened because of the perceived threat of the sale, or possible demolition of that building following a survey by the W.M.D.C. which had found it to be surplus to requirements. As a result, the Town Hall became administered by a town based Management Committee which sought to revive the function of the building as the hub of the Town's social life. (20) Following this development the Silver Prize Band moved into the Town Hall, occupying a ground floor room. The new bandroom, rented at a charge of 50p per night, commencing 1st April 1976, assisted the finances of the Town Hall management Committee but more importantly, the Band, which was represented on the Town Hall Committee by Mr Lewis Bedford and Mr Alan Cooper, provided much needed financial assistance by arranging a series of public concerts, given free of charge by the Band. As one of the Trustees of the Town Hall Committee at that time, the writer can testify that without the income derived from the public concerts (and supplemented by weekly Bingo sessions) the financial viability of the Town Hall Committee would have been strained to the point where the venture would have folded for want of sufficient capital. (21) Unfortunately, however, arising from the Town Hall Committee's need to attract diverse activities in both a cultural and financial context, the Band Committee was soon compelled to consider removal to an alternative site as "intolerable noise" from a disco held in the main hall, above the bandroom each Wednesday night, disrupted Band practice. Consequently, early in October 1976 the Band moved out of the Town Hall, taking up residence in the Forge Hill Methodist Chapel, Hill Top. (22) The Band expressed its gratitude to its new hosts, as to its former ones, by playing a concert for the chapelgoers and friends on the 13th January 1977. (23)

The move from the Town Hall in no way soured relations with the Town Hall Committee for not only did the Band terminate its tenancy on generous terms but at a later date it undertook a Sunday evening concert on a shared basis with the latter body, while on a further occasion, in 1983, the Band Secretary despatched a cordial letter to the Town Hall Committee thanking it for its continued support of the Band. (24)

The onset of chill autumn evenings posed a problem for the Band in its new abode, necessitating some form of supplementary heating prior to the coming winter. Electric heaters were obtained for the purpose but proved to be too expensive to use and by early 1980 a decision was taken to heat the room by alternative means and two Calor Gas heaters were obtained at a concessionary price for the purpose. (25)

By the time of the celebration of the Band's presumed centenary in 1980 it had experienced two decades of itinerant searching for a suitable bandroom and faced the prospect of further upheaval in the year ahead.

Added to the Band's problems in finding a new home were the perennial ones concerning uniforms and instruments. After a decade of use with its accompanying wear and tear and adaptation to meet the requirements of changes in personnel, by 1961 new uniforms were as necessary as they were desirable. The sartorial requirements were met by Mr Collins, a local tailor, who was prevailed upon to present two spare uniforms in lieu of discount on the order, for use by either new members or growing youths. (26) By the mid-1960s the Band had twenty-four full-time members, the youngest of whom was ten years of age. (27) It was with the younger element of the membership in mind that it was considered best to purchase 'off the peg' blazers and flannels, with the adoption of formal uniform upon graduation to the rank of full membership. The newly adopted style reflected the more casual form of dress which was beginning to be a defining characteristic of the new decade whilst being beneficial in terms of utility and economy. (28) The provision of the new uniforms owed much to the efforts of the Ladies' Committee which throughout the sixties was busy accruing funds for that purpose. (29)

A more fundamental change took place in June 1974 when at the Annual General Meeting the decision was taken

"that from now on the name of the Band become THE KNOTTINGLEY BAND." (30)

The decision was in essence a further concession to the 'Swinging Sixties' which by its transforming ethos had rendered traditional observance passé. In consequence of the prevailing attitude within society in general it was considered that the existing title was antiquated and therefore in need of change. Unfortunately, the liberalising attitude which underlay the name change and emphasised the virtue of individual freedom from social constraint resulted in a noticeable deterioration in the personal appearance of some of the Band members which contrasted sharply with the modern image the newly adopted title sought to promote. At a number of engagements players presented an inappropriate appearance with light coloured socks or brown shoes , etc., emphasising a decline in standards. In an effort to check the deteriorating trend the Committee requested members to pay more attention to details concerning dress and deportment and when a series of misunderstandings concerning attendance at local events occurred it was decided that in future bandsmen would muster at the bandroom prior to such events. The decree of the Committee may not have been a pretext but it did present an opportunity for checking of appearances before undertaking each engagement. (31) The issue remained largely unresolved, however, and for almost a further year there was still a problem regarding deportment at social engagements and it was ultimately decided that offending bandsmen be formally notified, stressing that appearance was a major aspect of engagements. (32) It was not until the mid-1980s, at which time Granville Austerberry was unanimously appointed Band Sergeant with a remit to improve the situation, that discrepancies were eradicated. (33)

In an effort to make existing uniforms more presentable, in the mid-1970s enquiries were made concerning their adaptation. (34) The situation appears to have arisen due to money being diverted for the overhaul of instruments and the dichotomy was still present a year later. (35) The willingness of one member to purchase a uniform at his own expense failed to draw a similar response from his fellow bandsmen, perhaps because they were fearful of creating a precedent or from an awareness that the Band's bank account contained the sum of £860, rather than inability to pay. (36) It must, however, be borne in mind that in addition to other items of expenditure there was the possibility of the need to find money for the purchase of land for a bandroom at that time. It was not until 1978 that the provision of new uniforms became the predominant issue. At the time the feeling was that a more informal outfit of blazer type jackets and trousers of contrasting colour was more fashionable and also more comfortable than traditional attire. To this end estimates were obtained from local branches of three nationally known tailors but by fortunate circumstance it was found that jackets of the desired style and colour were available from C & A Modes multiple store at Leeds and the bandsman who had previously offered to purchase a uniform generously offered to buy a jacket as a specimen to enable thorough analysis of its quality and suitability. (37) In summer season it was decided to obtain a quotation for shirts with a view to equipping the entire Band and through contacts of a Band member, Miss Christine North, samples of shirts and bow ties were obtained for inspection. (38) As price depended upon the size of the order it was decided to place an order for 25 adult shirts and 6 for junior members, together with an appropriate number of ties, the juniors shirts being

"of variable quality as young people soon outgrow them." (39)

The shirts were produced in three different colours; blue, pink and cream, with that of the bandmaster being a distinctive red. A proposal that each member pay for his own shirt of choice was met with some objection. Some Committee members favoured recourse to the funds of the magnanimous but overburdened Ladies' Committee but the issue being placed before the entire membership it was decided that in the event of the Ladies' Committee being unable to assist, the cost be met from Band funds. (40)

Examination of Band records leaves little doubt that the major element of expenditure during the years 1961-80 was the refurbishment and replacement of instruments and associated apparatus. The rising spiral of inflation which characterised the period reached its apogee in the early 1970s when the fuel crisis engendered by national disputes and international politics resulted in rapid and frequent price increases prompting demands for comparable increases in wages, exacerbating the existing inflationary trend. The effect on the Band was a downturn in income which produced a severe strain on its financial resources.

Unable to afford the rising cost of replacing instruments the Band Committee were dependent upon outworn instruments for fundraising and contest participation. A common practice at this period was the necessity to withhold instruments in need of repair until after a contest appearance and on at least one occasion where refurbishment was absolutely necessary it was stipulated that the repairs be undertaken and the refurbished instruments be returned within the space of a single week (41) The frequency with which such matters occurred indicates the obvious strain upon the financial resources of the Band. An indication of the magnitude of the problem is revealed by reference to a specific occasion in 1974. Kitchens, the musical instrument firm, had quoted prices of £50 each for the overhaul of the Band's E-E flat basses and £60 for the B-B flat instrument, the prices being quoted without examination of the instruments. A rival firm, Scheerers, sent a representative to view the instruments and he quoted the sum of £100 for all four instruments. Despite the substantial differential so precarious was the financial position of the Band that it was decided to await the assessment of a third firm, Barretts. (42) The outcome favoured Barretts, not because the price they quoted was cheaper than their rivals but because the firm was able to provide a solution to the problem posed by lack of instruments by enabling the Band to borrow replacement pieces. A resolution of September 1974 states

"Barretts be asked to call and if possible loan 2 basses while the Band's are away for repair and if not send them away consecutively." (43)

At the same time a new euphonium case costing £30 was obtained from Scheerers. The case was for use by the solo euphonium player who was to hand down his existing case to the second euphonium player while a third player was to have his instrument case refurbished as soon as funds became available but the makeshift arrangements in the interregnum provide some indication of the necessary degree of improvisation. (44)

The bass instruments appear to have been a particular problem for in May 1976 Barretts were again called to examine them, indicating perhaps, that refurbishment was an option of limited utility given the age and basic condition of the instruments and therefore the least viable economic option from a long term perspective. (45) However, with the unavailability of money for replacement instruments what other option was open to the Committee? Something of the dilemma is evident in the proposal to purchase a B flat baritone trombone late in 1977. The purchase was deemed necessary as the Band lacked a functional instrument on occasions when the second desk was required to deploy a B flat baritone. Shortage of money, however, resulted in the decision to buy a new trombone being rescinded and an existing instrument repaired instead. (46)

As in the case of the uniforms, the ever-reliable Ladies' Committee was called upon to assist, being approached to provide for the purchase of a tenor trombone. (47) Replacement instruments were, for the most part, second hand ones, particularly in the late 1970s when a tenor horn and a euphonium were obtained, the latter shortly after the decision to purchase a new one had been taken. (48)

The problems faced by Knottingley Band were not unique to that organisation. The social changes inaugurated by the 'Swinging Sixties' had been detrimental to the brass band movement in general. The traditional image and repertoire based on the values and outlook of the industrial labouring classes were literally ‘out of tune' with the somewhat callow philosophy of the 'new age'. Adapt or perish became the watchword of the band world and as a result a revolution in the composition of bands and repertoire was necessary to counter the prevailing public perception of the brass band as a class.

Changes were also affected in the administrative structure of the Band from the mid 1960s. In 1965 the system followed since 1949 of a group of administrative officers, assisted by a committee of eight, all being senior players within the Band, elected by the overall membership, was changed. At the A.G.M. in December it was decided that henceforth membership of the Committee would be open to all adult members, nonplaying as well as instrumentalists, all of whom were

"expected to exercise this privilege."

The change had become inevitable given the ethos of the 1960s with its challenge to hitherto conventional rituals and authority but practical considerations also rendered change as necessary as it was desirable by that time. A degree of rank-and-file indifference, manifested in the non-attendance of players at rehearsals (and even engagements) and at the annual general meetings, had permeated Band affairs making wider involvement essential for the future well-being of the organisation. To the enforced absence of shift working members was added a substantial element of the 'governing class' as older members retired from active participation in banding from the mid-sixties. A further development, of such importance that it justified greater recognition in the governance of the Band, was the role of the Ladies' Committee. In addition, although the decree of 1951 making 16 the minimum voting age, had denied a voice in administrative matters to younger members, the subsequent youth policy adopted by the Committee required that reconsideration be given to the subject in order to promote a feeling of common identity and pride and thus ensure the continuation of membership into adulthood. (56) Awareness of the desire to promote inclusiveness is seen in the decision of the Committee to actively encourage the attendance of junior members at senior practice at that time. (57)

The process of change had a long gestation. As early as 1950 a move to enlarge the size of the Committee had been defeated by 8 votes to 5 and although the following year a proposal that the executive officers of the Band should consist solely of bandsmen was defeated by the same margin, the Committee continued in fact to be composed of playing members. (58) In an effort to widen the franchise and cater for those unable to attend the A.G.M.s, a paper ballot had been introduced in 1952, yet despite this concession to democratic practice, settlement of a tied vote continued to rely upon the less than perfect system of a show of hands or the toss of a coin. (59)

As a result of the enlargement of membership the Committee from 1965 comprised five officers (including the bandmaster, ex officio) and fifteen committeemen, yet the opportunity for greater individual involvement appears to have had minimal use for by 1967 only three executive officers, the Chairman, Treasurer and Secretary, are listed in the minutes of the A.G.M. , with a proposal that the latter official be empowered to call meetings of the Committee sporadically when sufficient business had accumulated to warrant the same. (60) The decision appears to mark the formal acceptance of an ongoing practice, for entries in the Minute Book reveal a decline in the number of formal meetings during the sixties, a total of eight meetings held in 1964 having dwindled to 2 in 1966 and 1967, with only the A.G.M. being listed in 1965. (61) Furthermore, whether motivated by confidence or apathy, an increased degree of centralism is apparent from the mid-sixties as officers were frequently re-elected unopposed, a trend which continued over the two following decades. (62) During that period, however, some modification occurred concerning the size of the governing body. In 1974 the Committee was confined to five members plus the executive officers, ex officio. A proposal the following year that all senior members constitute the Committee was negated by an amendment that the system of elected members be retained. The voting; 6-5, with two abstentions, reveals an even balance between the 'reformists' and the 'retentionists'. (63) It is interesting to note that the proposal was framed by Miss Christina North, revealing thereby that some women associates of the Band were taking a more assertive role in the business of the Band by that time. It is also a matter for speculation how much the development of the movement for sexual equality which had gained momentum within society during the previous decade, was an influential factor in promoting the increased participation of women in the administration of the Band. Certainly, Miss North was something of a trail blazer for while there is no formal record of her membership of the Band Committee before 1978, the fact that the existing members were retained in office from 1976 onward suggests that may have been the date of her election to the Committee. (64) In an alteration to the Rules adopted on the 12th December 1956, it was decreed that every adult member, 18 years or over, be considered as a Committee member, thus ensuring a regular quorum for the dispensation of business. (65) The adoption of this rule rescinded the decree of 1951 making 16 the minimum voting age, but a nod in the direction of its eventual reintroduction was given in October 1980 when the age for attendance at Committee meetings was lowered from 18 to 16 years of age. (66) Despite the seeming indifference of the general membership concerning direct involvement in administrative matters, or perhaps because of it, it was considered desirable to keep members informed of all Committee decisions and from 1975 the practice was adopted of placing a copy of Committee minutes in the bandroom for perusal by all members. (67) A survey of the Rules took place in 1979 but with only one exception the code remained unchanged from that introduced in 1904 which, as noted earlier, was itself largely an adoption of the code of 1880. However, in common with the code of 1904 which had featured a change in the title of the Band, renaming it as 'Knottingley Silver Prize Band', a change of title was the most significant feature of the revision of the Rules in 1979, when as a sop to modernity the ensemble was renamed as the ‘Knottingley Band' (68) The newly adopted title was even more anachronistic than that discarded, being a reversion to the name by which the Band was first identified. The irony of the situation appears to have escaped the notice of the 'modernising tendency' in its enthusiasm to update the image of free Band.

The commencement of a new minute book in 1978 saw the Rules transcribed onto the inside front cover of the new book. While the entry specifically states "Rules adapted from the original, 1880.” they reveal significant changes from similarly titled code featured in the previous minute book. In the discarded book Rule 10 states: -

"Any item not provided for in these Rules to be decided by the Committee."

whereas the new book states

"...to be decided by all adult members." (my italics)

Minute Book 'C' reveals that the change was prompted by an amendment dated 12th December 1965. Similarly, a further widening of democratic participation is seen in a change to the wording of Rule 9 which in its original form stated that

"No business shall be done without Committee permission."

and amended to

"...without full Band permission." (my italics)

thereby reflecting the general tendency toward liberalisation during the 'Swinging Sixties' with its "power to the people" slogan. (69)

Rules revision appears to have been undertaken as part of a general survey of Band affairs for the insurance cover was also upgraded to the sum of £20,000 at this time. (70) While disciplinary infringements by Band members were clearly less frequent than a few years earlier there remained an abundance of problems. Lateness for rehearsals, prolonged absenteeism and occasional personality clashes are evident (71) while arrears arising from non-payment of membership subscriptions was also a perennial problem. Annual subscriptions of £1 were paid at the rate of 5 shillings per quarter by the 1960s. Yet despite this modest toll default was so widespread that it was decided that individual arrears should in future be deducted from engagement fees or dividend payments. (72)

Of outstanding problems, absenteeism was potentially the most damaging one due to its detrimental effect on the ability of the Band to perform to an adequate standard. In an effort to obtain improved attendance in 1975 the Committee changed the weekly practice night from Wednesday to Thursday, principally to accommodate members with night school commitments. The move appears to have had minimal effect on attendance for Band practice, however, necessitating an appraisal of playing strength the following year. (73) As a result, individual representation was made to absentees who were long serving members whilst members of shorter duration were circularised. All were requested to examine their attitude toward the Band and if discerning no sense of personal loyalty, resign with immediate effect and make way for new members. (74)

From the outstart the Rules had provided for the expulsion of recalcitrant members but owing to the potentially weakening effect on the Band the Committee had always been loath to implement such action. From the late 1970s, however, a more stringent attitude is apparent and following a series of reprimands for absenteeism three members were expelled within the space of a single year. (75) Naturally, such action left the Band very vulnerable and in danger of being unable to fulfil engagements due to lack of players. Nevertheless, the Committee held to its decision, decreeing that "If a suitable ensemble is not available to fulfil any future engagement the same [is to be cancelled." (76)

Disciplinary problems created extra work for the Band Secretary but the burden of coping with and overcoming the practical problems fell upon the shoulders of the bandmaster who as leader of the Band was regarded as the embodiment of patriarchal authority and therefore responsible for the maintenance of discipline and good order in addition to a myriad musicological duties. (77)

Over a period of 22 years from 1954 when he succeeded his uncle Joe, Brian Pollard served as bandmaster, undertaking the tuition of young bandsmen and overseeing all aspects of routine administration in addition to rehearsing and conducting at all concerts and social engagements and assisting the contest conductor, A.H. Whitehead. Following Whitehead's death in 1960 Pollard also assumed the conductorship of all contest appearances throughout the succeeding decade and a half.

Having inherited the expertise as well as the mantle of his mentor, Whitehead, it was unsurprising that under Pollard's direction the Band enjoyed a considerable degree of success, culminating in a performance for the Grand Shield at Belle Vue, Manchester in 1976. Although unplaced, the participation of the Band was remembered with pride thereafter, being the highest level of contest participation the Band had ever attained at that point in time and one which was to remain as a benchmark for several further decades. (78) An indication of incipient success had been noted in banding circles if not by the wider public for earlier 'The British Bandsman' had reported

"KNOTTINGLEY MOVES UP
Knottingley Silver are hard at work on the second section test piece for the Area contest to be held in Leeds Town Hall in February. They are at present Yorkshire Third Section champions by virtue of their win last year and were automatically promoted. Much of the Band's success is due to the diligence of their musical director, Mr T.B. Pollard, who began his career as a small boy with the Band [and] gained first class experience with the then Yorkshire Copper Works Band...The Band has rarely been out of the honours in contests entered over the past four or five years and at one time held nine challenge trophies as well as cash prizes. [There is] a compliment of 32 players, a third of whom are juniors and there is healthy competition for contest places, which augers well for the competency of the selected twenty-five." (79)

Success came at a price, however, for the resultant effect of the mental and physical strain on the conductor was evident a fortnight after the Belle Vue contest when Brian Pollard suffered a heart attack which compelled his resignation as bandmaster.

In the immediate aftermath of Pollards unfortunate indisposition the conductorship was undertaken by the ubiquitous Terry Clayton who was eventually freed to resume his vital playing role by the appointment of Mr Malcolm Simpson in 1977. (80) It was considered desirable, however, that to promote stability a member from the younger generation of Band members should be appointed as the permanent replacement for Brian Pollard who was himself only 26 years old when he became bandmaster. The obvious candidate was Raymond Hodgson. Born into a banding family and son of the Band Secretary, Hodgson had been a Band member since his schooldays and had served in various capacities as a committee member since 1958. (81) A reticent Hodgson agreed to undertake the duties for a trial period and was heartened by the unanimous expression of best wishes for his success from his Band colleagues. (82) Despite his youth and lack of conducting experience Hodgson was an instant success and his tenure was marked by the introduction of several innovative measures designed to launch a new and revitalised era with the Band attaining a high status public profile.

The aforementioned lapses in discipline should not be overemphasised but considered in the context of the spirit of comradeship, mutual respect and pride conferred by membership of the Band. Such qualities were manifested in a variety of ways; in the willingness of members to give generously of their time and money in order to participate in contests, attend concert engagements and civic and semi-religious functions, to provide tuition for junior musicians and graveside tributes to departed colleagues and donations for gifts to retiring members. Concerning the latter, two points worthy of mention emerge. The first is the decision to award life membership of the Band to long-serving members. The earliest recorded recipient of this honour was Roland Hey who in 1965 was awarded the distinction

"in view of his outstanding services to the Band." (83)

The second noteworthy action was the decision taken a year earlier to give the sum of 10 shillings each to retired, long-serving, bandsmen as a New Year's gift. (84)

In spite of the general affluence which increasingly pervaded society from the onset of the 1960s, the overall impression arising from examination of the Band's finances during the two following decades is one of continual struggle to remain solvent, with somewhat desperate periodic attempts to attract sponsorship and donations from individuals to supplement income from engagement fees and occasional prize money from contests.

During the 1960s lack of funds constrained attendance at some contests with decisions whether to participate or not being taken by the membership or left to the discretion of the Band Secretary (85) and in at least one case, only made possible by the willingness of the members to pay their own travelling expenses. (86)

The sporadic record of the Band savings account precludes precise analysis of its financial situation over time but paradoxically, the dozen or so recorded accounts present a prima facie case which stands in contradistinction to the seemingly parlous financial position generally. Thus, in November 1968 at a time when the Band Committee recorded

"disquiet expressed by lack of income."

the bank account (in old currency) was £677-1-2 (87) and when, almost a decade later, the Committee undertook a

"wide discussion re all aspects of the Band's present difficulties."

a consecutive run of five balances between May and November 1968 reveals an average sum of E811.66 (88) while the average for the period November 1968 to January 1981 was £610.73 with the lowest recorded amount being £269.79 in February 1980.

The explanation for the apparent contradiction lies in the necessity to make provision for heavy periodic expenditure occasioned by the repair and replacement of instruments and uniforms and the need to set aside funds for the possible purchase or construction of a bandroom. Lesser items of expenditure such as room rent, fuel costs, and transport and contest fees while of a comparatively minor nature were a regular levy on income and not insignificant when considered in an accumulative context.

Additional schemes adopted to augment falling income were the introduction of sweep stakes from 1967, covering the Grand National and other classic events in the horse racing calendar, and the introduction of raffles during the intermission of concert and social engagements. Other fiscal measures included the introduction of transport charges and a minimum fee for attendance at charitable events beyond the Knottingley/Ferrybridge boundary. (89) The earlier decision by the Committee to purchase a Premium Bond in the name of the Band may be interpreted as the triumph of hope over despair. (90)

An innovative measure considered by the Committee in 1974 was the production of a diary bearing the Band name and featuring a list of Vice Presidents, accorded the titular distinction by the donation of a fixed sum of money for Band funds (91) Band members were encouraged to contact potential contributors who in return for their donations would receive a complimentary copy of the diary available to the public at large for a small fee. (92) In order to bring the Band to the wider notice of the public it was also decided to have a number of business cards printed for presentation to patrons and potential clients. (93) An approach to a local printer revealed that the costs involved in production of a Band diary would outweigh any financial benefit and although a second opinion was sought it merely confirmed that the cost of production made the venture unprofitable and in consequence the proposal was abandoned. (94) Ultimately, a decision was taken to make a circularised approach to local businesses and in addition it was unanimously agreed by all the Band members that all monies obtained during the forthcoming Xmas period should be used to boost Band funds. (95) In the autumn of 1979 it was agreed to extend the usually profitable Christmas activities by approaching the proprietor of the local supermarket, G.T.Smith, seeking permission to play outside the supermarket located at Hill Top, a few days before Christmas Day in order to raise funds by means of customer donations. Permission was received and the Band played on the supermarket forecourt on the evening of the 21st and the afternoon of the 22nd December, thereby inaugurating an event which was to become standard practice in the years ahead. Nor was the boost to the funds more necessary for at that time the amount in the bank had reached its nadir, being only £269.79. (96)

Perhaps the most radical fundraising idea was the suggestion by the bandmaster, Raymond Hodgson, that to mark its putative centenary year the Band should cut a gramophone record for public sale. However, while the projected cost of such a venture was considered to be very reasonable, the finances of the Band were insufficient to meet the required capital outlay and the scheme was deferred for a later date. (97)

Throughout the 1960s the principal source of Band income continued to be obtained from concert performances and attendance at public events. During the following decade, however, the increasingly rapid and high levels of inflation occurred which carried financial implications for all sections of British society. The ongoing developments affected the Band, not only in terms of administrative costs but also of potential income obtained from concerts and social engagements. The rapid increase in the cost of living meant that organisations which had formerly booked the services of the Band, many on a regular basis, were now less able to afford to do so while the Band, needing to keep pace with the inflationary trend, had to increase its fees at the risk of pricing itself out of an already declining market. More than ever before, the policy of positive financial discrimination practised by the Band Committee in favour of local organisations and events held by regular patrons, was rendered in need of overhaul in order to ensure the economic viability of the Band. Nevertheless, despite the effort to keep fees to a minimum, substantial increases were inevitable.

The financial consequences of the general economic situation are clearly evident by comparison of fees charged at different periods. In October 1964, the Band undertook what was an annual engagement to play at Kellington church at the behest of the Whitley Bridge British Legion to mark Remembrance Day. The fee was £5, plus conveyance to and from the venue. A decade on when an approach was made to the Band Secretary concerning the event, the organisation was informed that the Band now charged a minimum fee of E15 for charitable events. The charge did not apply to attendance at the Armistice observation at Knottingley which continued to be undertaken gratis by the Band (98) and in respect of other 'in town' events at which it was felt necessary to make a charge, the fee was kept to a minimum. Thus, a fee of £2 continued to be paid by the Knottingley & Ferrybridge Carnival Committee throughout the period even though the event clashed with the annual holiday of many bandsmen and imposed an increasingly physical strain upon Band veterans marching along the route of the parade. Furthermore, attendance at the Carnival frequently cost the Band money as alternative bookings were declined to enable the Band to attend the Carnival. The cost of fulfilling its self-imposed public duty is clearly exemplified by reference to an occasion when a booking which carried a fee of £50 was declined in favour of the commitment to the Carnival, leaving the Band £48 out of pocket. (99) The keen sense of public duty inherent in the minds of the Band Committee ensured that in all cases fees for local events were of a token nature. When Rev C.H. Branch, Vicar of Ferrybridge, requested the presence of the Band at the Spastic Society's gala, held at Pontefract Castle in July 1969, a fee of £7-10-0 was suggested by the Committee and although an amendment sought to impose a more cost realistic figure, it was heavily outvoted by the members of the Band. (100) Likewise, when Cr William O'Brien engaged the Band to perform at the May Day celebrations on Sunday 4th May 1975, he was informed that if it was so desired the fee would be left to the discretion of the appropriate K.U.D.C. committee. rather than being imposed by the Band. (101) Similarly, a negotiated fee was applied in respect of the attendance by the Band at the official opening ceremony of the recently landscaped Quarry Gardens on the site of the old Town Quarry adjacent to St Botolph church, on the 21st July 1975, and for the celebratory garden party held on the site the following and subsequent years. (102) The annual gala event of the Knottingley Scouts remained at £20 while attendance at the Pontefract Scouts gala during the same period commanded a fee of £30 which by June 1980 had risen to £50. (103) The instances of local events for which fees were kept to an absolute minimum are too numerous to record here, suffice to mention that the dispensation was often afforded to aged persons' organisations as well as to charitable ones, often in locations slightly beyond the boundaries of the urban district. (104) Naturally, in order to subsidise worthy causes it was necessary to charge higher fees for some more commercial events but even in such cases where fees ranging from £50- £60 were mooted, the latter sum was usually sought, if only to secure the booking at a time of market contraction. (105) Where an arrangement could be made which provided transport for the Band or allowed for a raffle to be held compensatory fees were fixed. (106) Such an accommodation, however, still resulted in fees which in the late 1970s stood in sharp contrast with those charged only a few years before. A fee of £IO charged to Hill Top Workingmens' Club in September 1974 had increased to £50 plus raffle by 1979, although it should be noted that the former event had a charitable element as opposed to being a purely social entertainment. The Band was often involved with activities emanating from the Hill Top Club during the 1960s as the Club was the base for the 'Toppers', a predominantly female group who were particularly active in raising money for charitable causes, participating in events such as Knottingley Carnival and similar social events with much imagination and no little success. (107) It is of passing interest to note that in 1975 the 'Toppers' made an approach to the Band asking it to provide music for dancing throughout the entire evening of a forthcoming soiree, a request which had to be denied as it was thought to be beyond the compass of the Band to meet a task which half a century and more before would have posed no problem. (108) It is also a measure of the economic stringency from the mid-1970s that the 'Top Club', in common with several other such bodies, was hit by the high level of unemployment and the adverse effect of the mining dispute in the following decade, and compelled to close down. (109) Such a fate could so easily have befallen the Band had not the Committee exercised judicious care in the fixing of fees at that period.

The effect of increased costs in relation to the engagement of the Band by local clubs is also seen in the reduction of programme length. Thus, on Christmas Day, 1974, the S.Y.D. Club, Knottingley, engaged the Band to play at lunch time only for a fee of £25 and similarly, a one spot only evening performance at Knottingley Central Club in March 1980 was undertaken for an equivalent fee. (110) It may also be a measure of the financial constraint under which clubs and kindred organisations were operating from the mid '70s that the fee for playing a Band concert at a local club in late 1974 was still outstanding 18 months later. (111)

Outstanding examples of the Band's unique link with the local community were seen in 1977. At the start of the year the Band was engaged to play at the wedding reception of the daughter Mr A. Tunningley. A little later, the Band was approached by Knottingley Civic Society President, Rev J.S. Pearson, to play at a forthcoming function held to mark the retirement of Dr E. Murphy following 50 years of service to the people of the town. (112) The latter event posed an initial quandary as it was clearly impractical to commit the ensemble for a few minutes only. It was ascertained, however, that the Band was required to play a full programme and the event proved to be so successful that when the Methodist Minister, Rev. M. Lowry, later retired, the Band was similarly engaged to play at his farewell party on the 5th June 1979. (113)

Despite the uncertainty created by the general economic climate of the 1970s, the Band was fortunate to be engaged for a number of functions such as galas, garden parties and concerts held under the auspices of business organisations and companies and civic bodies which paid comparatively high fees. (114) Between 1974-80 the Band was engaged for a series of summer concerts undertaken in local parks owned by the Wakefield Metropolitan District Council and other civic authorities. (115) Again, with regard to the fees sought for the W.M.D.C. concerts one detects a degree of financial restraint by the Committee, anxious not to price themselves out of a source of regular and much needed income. In 1974 the fee quoted for an unspecified number of concerts was £80 and that sum was quoted for three concerts given the following year. (116) In 1976 the sum of £90 was sought for three concerts in district parks, with an alternative figure of £80 quoted on the proviso that one of the concerts was to be held in the Valley Gardens, Pontefract. The same sums were quoted the following season, the smaller fee applicable if concerts were to be given at locations near Knottingley. (117) In 1979, faced with resolutions for fees of £IOO and £90 for W.M.D.C. concerts the following summer, the Committee voted for the latter figure by 7 votes to 4. (118) The following summer only two public concerts were given. The locations and fees are unstated and the reduction in number may be indicative of the overall economic situation. (119) Paradoxically, in spite of increasingly high prices and financial adversity the number of engagements offered to the Band during the 1970s exceeded the capacity of the Band to fulfil them all. Temporal and logistical considerations imposed limitations, particularly with appeals for the support of the Band for 'good causes'. Such was the Band's reputation for benevolence that the requests for help were overwhelming and regretfully, many had to be declined due to

"outstanding engagements."

"unforeseen circumstances."

or it

"presently being a busy and difficult time."

Whenever possible alternative dates were offered but for sundry reasons such dates were often impractical. (120) The busy schedule also precluded acceptance of more distant engagements and therefore approaches from organisations beyond the confines of the immediate district were politely declined in the closing years of the ‘70s. (121)

Contest activity during the 'Sixties and 'Seventies was somewhat irregular and not a little confusing. Just as the post war regeneration of the Band, in which its ongoing youth policy played such an important part, began to yield results, as shown by the contest results from the mid-1950s, the adverse social and economic effects of the two following decades imposed severe constraints upon Band activity, particularly in the contest arena. As a result, participation in contests appears to have been sporadic, being largely dependent upon the decision of the rank and file members and in some cases their unwillingness to bear the costs involved. (122) A decision to compete in the Daily Herald Area Contest at Huddersfield in March 1960 was subsequently rescinded (123) However, the Band did participate the following year under the baton of A.H. Whitehead and with supplementary players within the ranks. (124) Late in 1961 the Band decided to appear in the first section of the Halifax Contest the following year, 'Le Etoile du Nord’ being the test piece for the event. The Band also sought to participate in the Yorkshire Federation Band Festival held at York on the 12th-13th July 1962.. (125) Between 1959-66 when the Band was based at the Railway Hotel, Knottingley, lack of space and privacy constrained the conduct of business, on one occasion forcing the abandonment of formal discussion, including a decision whether to take part in a forthcoming contest at Dewsbury. (126) As shown above, the dilapidated condition of some instruments also imposed constraints, with low pitch posing a particular problem in the second half of the 1960s. In this matter the Band was the hostage of changing style and circumstance. In former days brass bands had a high pitched tone which with the advent of the new musical fashion of the 1960s required that instruments be expensively adjusted to produce a lower tonal pitch to make them more compatible with pianos and like instruments which had begun to be introduced into the brass band movement by the middle of the decade. (127) Yet despite such impositions the Band did manage to compete with some success. In 1969, playing in the 3rd Section of the Yorkshire Area Championships, the Band was awarded 3rd prize with a score of 104 points for their test piece performance. (128) Nor was the event a solitary success for in its last six outings the Band had gained 3 first and 2 second placings, having to contend with being drawn to play the dreaded number one spot on no less than four occasions. (129) To attain such distinction in the face of such adversity bespeaks the skill and determination of the bandsmen and was a source of justifiable pride. Success bred further success and in the Area Championships of 1971 the Band obtained first place in the fourth section and were automatically promoted to the third section. At that time that the Band probably had the oldest active bandsman in the country in the form of Roland Hey. (130) Hey, who was to retire from playing a couple of years later, was the epitome of a dedicated bandsman, being active in all aspects of Band activity and was inspired in this by the example of Tom Pollard who had retired from active duty in 1965 due to failing health. Tom, then 60 years old, had joined the Band half a century earlier, graduating from tenor horn to double bass. The Pollard family had provided bandsmen from the 1880s, Tom's father, his uncle Jim and brother, Joe, and Tom's son, Brian, all played in Knottingley Band, the two latter becoming bandmasters, the post being held by Brian at the time of Tom's retirement. The then Secretary, G.W. Hodgson, described Tom Pollard as a

"...solid, no-nonsense type....ever dependable both as a player and a worker"

who, it was hoped, would

"still be able to attend rehearsals if only as a knowledgeable critic." (131)

In thus describing Tom Pollard, Bill Hodgson could well have been describing numerous others who exemplified the tradition of loyal, dedicated membership, continuing into their twilight years. Bill Hodgson had himself joined the Band when only nine years of age, followed some years later by his brother, Percy (Tiffy), both following their father Joe, tragically killed when only 45 by an accident at the Prince of Wales colliery, and whose grandson, Raymond, later became the bandmaster. The Claytons are another family with long connections with the Band, Terry Clayton the senior representative of the family, has held almost every official position within the sphere of the Band and as its Chairman was until recently actively involved on the playing front. The family connection is evident throughout the entire history of the Band and is complemented by examples of individual members such as Jack Hall, Trevor Lloyd, and Granville Austerberry of the present generation and others such as Frank Spencer, of a bygone generation.

Notwithstanding the contest success of the late sixties - early seventies, the problems faced by the Band necessitated a degree of judicious selection. The pattern from the mid-1970s is one of participation in the more prestigious events such as the annual contest at Ossett, Belle Vue and London but a strategic absence from less prestigious regional contests. (132) Owing to the process of reappraisal and restructuring something of a hiatus occurred during 1976-77. An indication of how the Band was stretched for experienced players is evident from the decision to approach Malcolm Simpson, a local conductor, as a temporary measure, thus freeing Terry Clayton who, following Brian Pollard's heart attack was acting bandmaster, to play in a forthcoming contest at Harrogate and thereby enhance the Band's prospects. In fact the problems proved to be intractable and the Band withdrew from the contest. (133) A further sign of the problematic situation was the decision to make application via the Regional Secretary, to have the Band regraded as a third section competitor to enable it to compete in the National Championships scheduled for October 1978. (134)

As the decade drew to a close low morale and the advent of the putative centenary provided the opportunity to raise some money while simultaneously affording a boost to self-esteem. To mark the centenary in an appropriate way, meant that the emphasis was on local events and that contesting was of necessity relegated to a minor role pro tem. The year 1980 was, however, distinguished by an appearance at an Area contest held at Bradford in February. (135)

As early as March 1979, discussion had taken place concerning the centenary and it had been agreed that the most appropriate way was to make the first event of the year a concert in Knottingley Town Hall. (136) The milestone also prompted a suggestion that the history of the Band be written and the Committee sanctioned the release of the Minute Books to facilitate its production but for undisclosed reasons nothing further came of the proposal. (137) Mention has already been made of a further abortive proposal, namely to cut a record but other suggestions were more successful.

The services Of the Ladies' Committee were naturally sought in connection with the formulation of centennial events and it was at the forefront of arrangements for the prestigious tribute concert given by the Yorkshire Imperial Metals Band with all the proceeds going to the funds of the Knottingley Band. (138) The concert took place in Knottingley High School on the 30th August 1980. The Ladies' Committee provided refreshments for sale and supervised a raffle and all non-playing members assisted as doormen, stewards and general factotums in order to ensure the success of the event. Twenty posters designed by the local printers had been displayed throughout the town to attract a capacity audience and in anticipation of this 300 tickets at £1 for adults and 60p for aged persons and children had been printed in accordance with the estimated capacity of the hall. (139) In other respects, the centenary year was one of routine business, formally ushering the Band into the presumed second century of its existence.

Terry Spencer 2006

---

CHAPTER FIVE: NOTES
(1) Minute Book 'B' 2-6-1961.
(2) ibid 17-8-1962.
(3) ibid 1-5-1963.
(4) ibid 12-11-1962.
(5) ibid 1-5-1963.
(6) ibid 15-7-1963.
(7) ibid 7-6-1964.
(8) ibid 6-7-1964. The religious consideration arose because Cr W. O' Brien was a Catholic.
(9) ibid 3-1-1966.
(10) ibid 7-2-1966.
(11) ibid 20-3-1967. Also, Spencer T. 'Knottingley Public Houses & Breweries circa 1750-1998, (1988), p104.
(12) Minute Book 'B' 3-1-1966 & 7-2-1966. The Band members had also formed a cricket team in 1963 c.f. ibid 22-4-1963.
(13) I am indebted to Mr B. J. Pollard for this information.
(14) Minute Book 'B' 7-2-1966.
(15) ibid 15-12-1967.
(16) ibid 6-11-1967.
(17) ibid 4-10-1974.
(18) ibid 7-11-1975 & 2-1-1976.
(19) ibid 20-2-1976 & 5-5-1976.
(20) Spencer T 'Knottingley Town Hall' (2001), pp15-17. Also Pontefract & Castleford Express 19-2-1976 p13.
(21) Minute Book 'B' 2-4-1976.
(22) ibid 10-8-1976 & 8-10-1976.
(23) ibid.
(24) ibid & 3-3-1978. Also Minute Book 'C' 11-2-1983.
(25) Minute Book 'B' 2-9-1977 & Minute Book 'C' 1-2-1980.
(26) Minute Book 'B' 1-1-1962 & 1-12-1961.
(27) Pontefract & Castleford Express 7-10-1968 p12.
(28) Minute Book 'B' 10-5-1962 & 10-3-1969.
(29) ibid 6-11-1969.
(30) ibid 19-6-1974.
(31) ibid 12-7-1974.
(32) ibid 2-5-1975 & 13-6-1975.
(33) Minute Book 'C' 11-2-1983 & 22-6-1988..
(34) ibid 2-4-1976.
(35) ibid 5-5-1976.
(36) ibid 6-1-1978.
(37) ibid 3-2-1978.
(38) Minute Book 'C' 14-7-1978 & 3-11-1978.
(39) ibid 6-10-1978.
(40) ibid 3-11-1978, 7-4-1979 & 1-6-1979.
(41) Minute Book 'B' 14-11-1963 & 12-12-1968.
(42) ibid 9-8-1974.
(43) ibid 13-9-1974.
(44) ibid 9-8-1974 & 12-7-1974.
(45) ibid 5-5-1976.
(46) ibid 4-11-1977 & 6-1-1977.
(47) ibid 6-12-1974 & 3-1-1975.
(48) ibid 3-6-1977, 5-10-1979 & 3-8-1979.
(49) ibid 4-2-1975.
(50) ibid 6-11-1969 & 10-3-1969.
(51) ibid 19-6-1974 & 13-9-1974.
(52) ibid 12-7-1974, 16-11-1974 & 19-6-1974.
(53) ibid 12-7-1974.
(54) ibid 15-7-1963, 1-5-1963 & 14-11-1963.
(55) ibid 12-7-1974 & 15-2-1967.
(56) ibid 12-12-1965 & Minute Book 'A' 1951.
(57) Minute Book 'B' 6-4-1964.
(58) Minute Book 'A' 21-4-1950 & 16-5-1951.
(59) ibid 13-2-1049 & 22-4-1956.
(60) Minute Book 'B' 15-12-1967.
(61) ibid 1964-67 passim.
(62) ibid 12-12-1965 & Minute Book 'C' 19-9-1984.
(63) Minute Book 'B' 4-7-1975.
(64) ibid 3-3-1978.
(65) Minute Book 'C'. Band Rules-inside front cover.
(66) ibid 3-10-1980.
(67) Minute Book 'B' 4-7-1975.
(68) ibid 19-6-1974.
(69) Minute Book 'C'. Band Rules-inside front cover.
(70) ibid 9-6-1978 & 14-7-1978. Also, Minute Book 'B' 5-5-1978 & 8-10-1977.
(71) ibid 12-8-1963,13-9-1974, 9-8-1974, 10-9-1956, 1-5-1963, 9-6-21978 & 12-7-1974.
(72) ibid 15-12-1967.
(73) ibid 3-10-1975, 8-10-1976, 30-7-1976.
(74) ibid 6-5-1977 & 3-6-1977.
(75) Minute Book 'C' 6-10-1978, 5-10-1979 & 12-7-1974.
(76) ibid 5-10-1979.
(77) Minute Book 'B' 6-12-1974.
(78) I am indebted to Mr Brian Pollard for details of his career as a bandsman and conductor and also for information concerning his mentor and associate, Mr R.A. Whitehead.
(79) 'The British Bandsman', No. 3,465, January 1972, p5..
(80) Minute Book 'B' 30-7-1976..
(81) Minute Book 'A' 9-3-1958 & Minute Book 'B' 12-12-1965, 19-6-1974, 12-7-1974 & 4-7-1975..
(82) Minute Book 'B' 3-2-1978.
(83) Minute Book 'B' 12-12-1965.
(84) ibid 6-1-1964.
(85) ibid 4-5-1964, 15-2-1967, 7-11-1975 & 1-11-1968.
(86) ibid 12-8-1963.
(87) ibid 1-11-1968.
(88) ibid 4-11-1977 & Minute Books 'B' & 'C' passim.
(89) Minute Book 'B' 15-12-1967 & 3-31978, 4-2-1975 & 13-9-1974. Also, Minute Book 'C' 9-3-1979 & 18-4-1980.
(90) Minute Book 'B' 2-6-1961.
(91) ibid inside front cover. The Vice Presidents are named as Mr G. Taylor, Mr & Mrs G. Golby, Mr R.Bedford, Mr A. Tunningley, Mr W. Holroyd, Mr P. Shaw & Mr K. Sharp.
(92) ibid 4-10-1974.
(93) ibid 13-9-1974.
(94) ibid 3-10-1975 & 7-11-1975.
(95) ibid 3-2-1978 & 6-1-1978.
(96) Minute Book 'C' 5-10-1979 & 1-2-1980.
(97) K.S.P.Band Minute Book 'B' 1-2-1980.
(98) ibid 4-10-1964, 13-9-1974, 14-11-1976, 2-9-1977 & 5-10-1979.
(99) Minute Book 'C' 1-2-1980, 18-4-1980 & 23-2-1979. Also Minute Book 'B' 17-8-1962, 9-8-1974, 27-6-1975, 10-7-1976 & 14-7-1978. for details of engagements and fees.
(100) ibid 10-3-1969. The result was 14 votes to 4.
(101) ibid 4-4-1975.
(102) ibid 7-3-1975, 20-2-1976, 3-3-1978 71-6-1980.
(103) ibid 7-3-1975, 2-4-1976 3-2-1978, 4-7-1979 & 18-4-1980.
(104) ibid 1-11-1974, 6-12-1974, 9-8-1974 & 8-10-1976.
(105) ibid 7-4-1978.
(106) Minute Book 'C' 9-3-1979 7 5-10-1979, & Minute Book 'B' 13-9-1974.
(107) Spencer T. 'Fairs, Festivals & Frolics: Knottingley circa 1860-2003', (2003), Section 3, passim for reference to Hill Top Club 'Toppers'.
(108) Minute Book 'B' 7-3-1975.
(109) Other local clubs which shut down were the Central, Aire Street, and the British Legion Club.
(110) Minute Book 'B' 1-11-1974 & Minute Book 'C' 1-2-1980. (111) K.S.P.Band Minute Book 'B' 1-11-1974, 20-2-1976 & 5-5-1976.
(112) ibid 7-1-1977 & 11-2-1977.
(113) ibid 1-4-1977 & Minute Book 'C' 1-6-1979.
(114) ibid 9-6-1978 & passim and Minute Book 'B' 4-2-1975 & passim for reference to commercial, social and civic engagements.
(115) Minute Book 'C' 23-2-1979.
(116) Minute Book 'B' 1-11-1974 & 3-10-1975
(117) ibid 14-10-1977.
(118) Minute Book 'C' 6-10-1978.
(119) ibid 5-10-1979.
(120) ibid 14-7-1978 & Minute Book 'B' 6-12-1974 & passim for reference to rejection, rearrangement and cancellation of engagements by Band.
(121) ibid 4-2-1975, 2-4-1976 & 1-4-1977.
(122) ibid 25-9-1962, 12-8-1963, 4-5-1964 & 1-11-1968.
(123) ibid 4-1-1960.
(124) ibid 17-1-1961.
(125) ibid 1-12-1961.
(126) ibid 25-9-1962.
(127) I am indebted to Mr Brian Pollard for this information.
(128) Minute Book 'B' 14-11-1963, 20-3-1967, 1-11-1968 & 12-12-1968.
(129) Pontefract & Castleford Express 20-2-1969 p16.
(130) 'The British Bandsman' 22-1-1972, p5.
(131) Minute Book 'B' 13-9-1974. Also, Pontefract & Castleford Express 11-2-1965 p16.
(132) Minute Book 'B' 4-10-1974, 20-2-1976, 13-9-1974, 5-9-1975 & 10-8-1976.
(133) ibid 10-8-1976.
(134) ibid 2-12-1977 & 6-1-1978.
(135) Minute Book 'C' 1-2-1980.
(136) ibid 9-3-1979 & 6-7-1979.
(137) ibid 15-8-1980.
(138) ibid 1-2-1980 & 4-7-1980.
(139) ibid 18-4-1980. Also, Pontefract & Castleford Express 17-4-1980, Second Section, p6.