DOCSLIB.ORG

SINGLES CHART: P.11:Ftlbums CHART: P.26 AUGUSTS. 1980

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SINGLES CHART: P.11:ftLBUMS CHART: P.26 AUGUSTS. 1980 RECORDS ■ TAPE ■ RETAILING ■ VIDEO ■ BROADCASTING ■ STUDIOS PUBLISHING ST 21 Europe's Leading Music Business Paper-A Morgan-Grampian Publication 'Reject records without recommended prices—MRS 'Block releases' say angry publishers BRITAIN'S MUSIC publishers "suggested price" as its base. puzzled about why they" seem to~~"~ are prepared to block the release "My members are obviously think they can take liberties with the disturbed at this unilateral change of Copyright Act. of records following recent long established procedure," says "We accept that changed trading FOLLOWING CONFIRMATION of the appointment of Brian Shepherd as decisions by three major record Montgomery in his letter to the BPI, conditions may result in record A&R director of Phonogram, Roger Ames and Chris Briggs have also joined companies to abandon adding: "1 must ask you to tell your companies wishing to alter the prices the department. The three were, until recently, the core of EMI's A&R unilaterally recommended retail members that MRS may require of their product. We've all got to be division. They join Jeremy Ensor and Dave Bates to complete the new prices. recalculation of any royalties paid at realistic, but not to the extent of Phonogram A&R team. Pictured above (I to r) are Roger A mes. Jeremy Ensor, Angered by the manufacturers — a lower rate following the record companies avoiding payment Chris Briggs, Brian Shepherd and Dave Bates. In addition, Shepherd will assist EMI, PolyGram and CBS — taking abandonment of RRP by any of the statutory royalties." Ramon Lopez, managing director of PRO, in supervising Dacca's A&R action without prior consultation company." David Platz of Essex Music activities. with the publishers over royally MRS has issued its members with commented: "It's vital that both calculations, the Mechanical Rights a standard form with which to reply parties get together to solve the Society is advising its members to to companies seeking to release problem. It's important that this BPI planning to abandon refuse to accept statutory notices for records without RRP. This plainly should not be a device for record records which are proposed for stales: "As copyright owners we do companies to reduce royalty release without a recommended not accept that the statutory notice is payments to publishers and the home-taping licence retail price. issued as required by Section 8 of the copyright holders." MRS general administrator Bob 1956 Copyright Act". An EMI spokesman said; "As a THE BPI has decided that it wishes to abandon the home recording licence Montgomery has written to Guy Without an approved statutory long-term policy, we would hope which is issued by the MCPS and which allows individuals to indulge in home- Marriott, chairman of the BPI notice a record company would be that the industry will adopt the taping without contravening the Copyright Act. Copyright Association, clearly unable to release a record. European system of giving only a The licence currently costs £1.50 plus VAT and is considered by the BPI to spelling out the publishers' position: Ron White, speaking in his dealer price and basing royalty be "neither economic nor practical". In fact, many record executives believe "We do not accept any of the new various capacities as president of the payments on an average selling that the licence merely gives the public a blanket agreement to home-tape bases of payment". MPA, vice president of the MRS, price." without going any way towards recompensing the industry for lost income. EMI is now basing copyright and managing director of EMI BPI director general John Deacon Less than 10,000 licences were issued last year and the BPI believes that the royally payments on an "ordinary Music Publishing, told Music Week: declined to comment on the subject fee hardly covers administration costs. "To realistically recover losses from list price"; PolyGram is publishing "It's a sign of desperation in the except to say that negotiations home-taping, the licence should be priced in the region of £50, which is "catalogue" prices on which it is record industry along the lines of, between the BPI and MRS which obviously unrealistic," BPI director general John Deacon told MW. apparently paying artists and 'what can we do to reduce our began in 1978 to debate payments, The Mechanical Rights Society, however, is adamant that the licence should copyright royalties, and CBS has a royalty payments', and we are are continuing. be retained, although it is looking at "restructuring the licence and the wording". Should the BPI withdraw as a partner with MRS in the licence, it would mean that the domestic recording licence would only cover musical copyright Rebel indies Industry welcomes end and the licensee would also have to seek permission from individual record companies before taping a record. hatch BIRD of Radio One playlist THE RAPIDLY mushrooming body of independent record By DAVID DALTON labels who have felt that if they do shops seeking a new deal from THE RECORD industry has not appear on the playlist, they will manufacturers is likely to be broadly welcomed the scrapping of not get Radio One exposure. SI0UXSIE AND formed into a limited company the Radio One playlist (see Independent record promoter under the name BIRD (British Broadcasting pi6) which is expected Allan James comments: "1 was Independent Record Dealers). to produce what the station's never anli-playlisl because you're THE BANSHEES A decision to set up formally controller Derek Chinnery describes only anti when you're not on it. the company will be taken when as "a more open policy than any of "As always, if the product is good NEW ALBUM the founder members, led by the commercial stations". they will play it, but it does seem to Preston dealer Phil Ames, meet The general feeling, is summed up give greater scope for new records at the Eurocrest Hotel, by GTO head of promotion Paul and new artists. Not being Coventry, on August 17 Clark who says: "It will possibly committed to a format could cause a (3.00pm)'. create more opportunities for a lack of continuity during the Any dealer with a turnover in wider variety of records to be played daytime, but I feel they are excess of £250,000 a year is and it should help new artists." professional enough at Radio One invited to attend the meeting and Geoff Alherton, EMI's national not to let that happen". jonTBIRD, Leicester dealer Jack promotion manager, agrees: "I feel Another plugger quite happy with Ainley told Music Week. it will make for belter radio if it the old playlist system is Tony BIRD will pursue the dealers' provides a broader range of music, Bramwell, head of promotion at W. original idea to attain better and though one benefit of the Featured Polydor. more profitable trading Forty to record companies was that "1 thought the playlist provided a conditions for its members while it earmarked records that were likely good cross section of records and offering the manufacturers a to be played heavily and likely to sell artists and 1 don't think that f. chance to sell more records well. situation will change very much as it through high turnover outlets, "I think it means that pluggcrs will still be the same producers. and adhering to a "code of will have to get round to a lot more "One good point is that in the £ conduct" (MW August 2). producers and get to know their past when a producer's individual tastes even better, but it recommendation to the playlist • ACTING CHAIRMAN and should allow producers to put committee has been turned down, secretary of the GRRC, Harry together a show reflecting more of that particular record has perhaps Tipple, is still unable to give a the flavour of the DJ." never been heard of again. Now date when a full meeting of the Chinnery expects the move to be individual producers will be more / committee can take place in most welcomed by the ■ growing able to follow their own London to vote for a new number of smaller independent judgement." chairman. _ wmm _ __ _ Inlcrnalional 6 • Retailing 8 • Broadeasling 16 • Tipshccl. Talent & I'ubli'.hing 20 • Tislings & Select Singles 24 • Classical 28 • LP reviews 30 & 31 • John Wilkes feature 34 # Doolev & Letters 35 • Order from Polygram 01-590 6044 Uf&L, Album; 2442177 Cassette 3184146 MUSIC WEEK AUGUSTS, 1980 Edited by JIM EVANS / ■■ /IKK ^r- s A: Olivia nfwion- joah JET RECORDS has signed a worldwide singles deal with llie five piece London band The Eyes. Their debut single, written by lead vocalist Nigel Van Straiten and guitarist Colin Lester, tilled Right Direction, is produced by Roy Wood and released in a gale/old picture bag next week. Pictured (L to R): Peter Felstead(Aviation Music), Colin Lester, Roy Wood, Nigel Van Straiten, Grant AMERICA'S NO. I SINGLE Black (Aviation Music) and Don Arden, president, Jet Records (seated). J. C -■» St, / K: DIN DISC'S LATEST signing is Dedringer whose first single, Sunday Drivers (DIN 10) is Just released. They are touring during the autumn Music t and working on an album. Pictured with the band are Dindisc MD Carol Wilson (second night), head of promotions Donna Thomson (far Deals right) and the band's manager Des Eraser (top right). 1 v- mr c - SECOND SIGNING to Larry Uttal's Earlobe Records is five-piece London group. Amy, produced by Biddu. Debut single is Small Talk (ELS 2), for release on August 15. The band is playing live dates in support of the release, /HV V and the group is fronted by singer Amy who was formerly in Panties.
Recommended publications
  • Steve Harley Lee Nelson

    Steve Harley Lee Nelson

    SPARKLING ARTS EVENTS IN THE HEART OF SHOREHAM SEPT – DEC 2014 BAKA BEYOND LUNASA THE INNER VISION ORCHESTRA STEVE HARLEY GEORGIE FAME LEE NELSON TOYAH WILLCOX CURVED AIR SHAKATAK ROPETACKLECENTRE.CO.UK SEPT 2014 ropetacklecentre.co.uk BOX OFFICE: 01273 464440 SEPT 2014 WELCOME TO ROPETACKLE From music, comedy, theatre, talks, family events, exhibitions, and much more, we’ve something for everybody to enjoy this autumn and winter. As a charitable trust staffed almost entirely by volunteers, nothing comes close to the friendly atmosphere, intimate performance space, and first- class programming that makes Ropetackle one of the South Coast’s most prominent and celebrated arts venues. We believe engagement with the arts is of vital importance to the wellbeing of both individuals and the community, and with such an exciting and eclectic programme ahead of us, we’ll let the events speak for themselves. See you at the bar! THUNKSHOP THURSDAY SUPPERS BOX OFFICE: 01273 464440 Our in-house cafe Thunkshop will be serving delicious pre-show suppers from 6pm before most of our Thursday events. Advance With support from booking is recommended but not essential, please contact Sarah on 07957 166092 for further details and to book. Seats are reserved for people dining. Look out for the Thunkshop icon throughout the programme or visit page 58 for the full list of pre-show meals. Programme design by Door 22 Creative www.door22.co.uk @ropetackleart Ropetackle Arts Centre Opera Rock Folk Family Blues Spoken Word Jazz 2 SEPT 2014 ropetacklecentre.co.uk BOX OFFICE: 01273 464440 SEPT 2014 SARA SPADE & THE NOISY BOYS Sara Spade & The Noisy Boys: World War One Centenary Concert She’s back! After a sell-out Ropetackle show in January, Sara Spade & The Noisy Boys return with flapper classics like ‘Five Foot Two, Eyes of Blue’ and other popular Charlestons, plus favourite Great War-era songs including Pack up your Troubles in your Old Kit Bag and Long Way to Tipperary.
  • Linton Kwesi Johnson: Poetry Down a Reggae Wire

    Linton Kwesi Johnson: Poetry Down a Reggae Wire

    LINTON KWESI JOHNSON: POETRY DOWN A REGGAE WIRE by Robert J. Stewart for "Poetry, Motion, and Praxis: Caribbean Writers" panel XVllth Annual Conference CARIBBEAN STUDIES ASSOCIATION St. George's, Grenada 26-29 May, 1992 LINTON KWESI JOHNSON: POETRY DOWN fl RE66flE WIRE Linton Kwesi Johnson had been writing seriously for about four years when his first published poem appeared in 1973. There had been nothing particularly propitious in his experience up to then to indicate that within a relatively short period of time he would become an internationally recognized writer and performer. Now, at thirty-nine years of age, he has published four books of poetry, has recorded seven collections of his poems set to music, and has appeared in public readings and performances of his work in at least twenty-one countries outside of England. He has also pursued a parallel career as a political activist and journalist. Johnson was born in Chapelton in the parish of Clarendon on the island of Jamaica in August 1952. His parents had moved down from the mountains to try for a financially better life in the town. They moved to Kingston when Johnson was about seven years old, leaving him with his grandmother at Sandy River, at the foot of the Bull Head Mountains. He was moved from Chapelton All-Age School to Staceyville All-Age, near Sandy River. His mother soon left Kingston for England, and in 1963, at the age of eleven, Linton emigrated to join her on Acre Lane in Brixton, South London.1 The images of black and white Britain immediately impressed young Johnson.
  • The Performance of Accents in the Work of Linton Kwesi Johnson and Lemn Sissay

    The Performance of Accents in the Work of Linton Kwesi Johnson and Lemn Sissay

    Thamyris/Intersecting No. 14 (2007) 51-68 “Here to Stay”: The Performance of Accents in the Work of Linton Kwesi Johnson and Lemn Sissay Cornelia Gräbner Introduction In his study Accented Cinema, Hamid Naficy uses the term “accent” to designate a new cinematic genre. This genre, which includes diasporic, ethnic and exilic films, is char- acterized by a specific “accented” style. In his analysis of “accented style,” Naficy broad- ens the term “accent” to refer not only to speech but also to “the film’s deep structure: its narrative visual style, characters, subject matter, theme, and plot” (Naficy 23). Thus, the term “accent” describes an audible characteristic of speech but can also be applied to describe many characteristics of artistic products that originate in a par- ticular community. “Accented films” reflect the dislocation of their authors through migration or exile. According to Naficy, the filmmakers operate “in the interstices of cultures and film practices” (4). Thus, Naficy argues, “accented films are interstitial because they are created astride and in the interstices of social formations and cinematic practices” (4). Naficy’s use of the term interstice refers back to Homi Bhabha, who argues that cultural change originates in the interstices between different cultures. Interstices are the result of “the overlap and displacement of domains of difference” (Bhabha 2). In the interstice, “social differences are not simply given to experience through an already authenticated cultural tradition” (3). Thus, the development of alternative styles and models of cultures, and the questioning of the cultures that dominate the space outside the interstice is encouraged.
  • Darryl Way – Vivaldi's Four Seasons in Rock

    Darryl Way – Vivaldi's Four Seasons in Rock

    Darryl Way – Vivaldi’s Four Seasons In Rock (41:20, CD, Cherry Red Records- The Right Honourable Recording Company, 2018) Darryl Way dürfte den meisten Lesern durch sein Mitwirken bei Curved Air bekannt sein, oder auch durch seine Band Darryl Way’s Wolf (u.a. mit Ian Mosley. Auf dem Debütalbum von 1970 war er ebenso vertreten, wie auf den meisten Alben bis 1976 (auf dem 73er Album „Air Cut“ war an seiner Stelle ein gewisser Eddie Jobson aktiv). Bei „Alive 1990“ ist er noch einmal dabei, doch an der neuen Reinkarnation hat er nicht mehr teilgenommen. Zwar sind Curved Air nicht unbedingt in der allerersten Reihe der 70er Prog Dinos einzuordnen, doch sie konnten sich einen treuen Fankreis erarbeiten und erreichten durchaus einen gewissen Bekanntheitsgrad. Zu einem Herausstellungsmerkmal gehörte neben Frontfrau Sonja Kristina auch das prägnante Geigenspiel. Gleich auf dem Debütalbum „Air Conditioning“ ist ein Klassiker der Band zu finden, der seinerzeit auch zu den Höhepunkten ihrer Konzerte gehörte, nämlich der, logischerweise von Way arrangierte Titel ‚Vivaldi‘. He did it his way, sozusagen. Anscheinend stammt sein Arrangement aus dem Jahr 1968, denn im Booklet der vorliegenden CD steht geschrieben, dass sich Way pünktlich zum 50. Geburtstag seiner Klassik-Rock-Hymne an eine komplette Neueinspielung von Vivaldis „Die vier Jahreszeiten“ gewagt hat. Mit viel Respekt vor dem Original, das er für ein Beispiel musikalischer Perfektion hält, hat er sich vorgenommen, daraus eine Rock-Variante zu kreieren. Dabei hat er sich ganz bewusst sehr nah an der Vorlage bewegt, lediglich in langsameren Passagen hat er leichte Veränderungen zugelassen. Zum Schutz Ihrer persönlichen Daten ist die Verbindung zu YouTube blockiert worden.
  • Avisn-Mai 2016

    Avisn-Mai 2016

    A v i s f o rA O s l o V o kvs e n o pip l æ rsi n g NNy d a l e n m a i 2 0 1 6 AvisN Byvand ring Bilder og tekst på bloggen https://avisn.wordpress.com/2016/05/01/byvandring-i-nydalen/ Massasjestol Bysykler Englene i Nydalen v side 5 side 6 side 10 AvisN er avisa for Oslo Voksenopplæring Nydalen. Den kommer ut hver måned. AvisN er gratis. Redaksjonen består av elever og lærere ved senteret. Oslo Voksenopplæring Nydalen gir skoletilbud til voksne elever som har ulike lærevansker, eller som trenger opplæring etter sykdom eller skade. Det er over 500 elever ved senteret, alle er deltidselever. Senteret har 60 ansatte. AAvviissNN Det er undervisning ved senteret fra 9.00 om morgenen til 20.30 om kvelden. Oslo Voksenopplæring Nydalen, Nydalsveien 38, Oslo, tlf 23 39 39 00 E-post til AvisN: [email protected] Blogg-AvisN: https://avisn.wordpress.com/ Skolegenser Månedens miljøtips Hvis du vil ha skolegenser eller T-skjorte bør du bestille nå! Ta kontakt med resepsjonen! Les om kortreist mat, side 5. Er det noe du kan gjøre for å spise mer miljøvennlig? Lista for bestilling av skolegensere ligger i Rektor har ordet resepsjonen. Prisene varierer fra kroner 200 til kroner 600. Det fins fra 9 til 25 farger å velge mellom, alt etter om det er hettejakke, hettegenser, Hei alle sammen! collegegenser eller T-skjorte. I tillegg kan man Takk til alle dere som svarte på velge mellom trykk som er stort eller lite på elevundersøkelsen.
  • The A-Z of Brent's Black Music History

    The A-Z of Brent's Black Music History

    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
  • The Genesis Discography

    The Genesis Discography

    TTHHEE GGEENNEESSIISS DDIISSCCOOGGRRAAPPHHYY “The scattered pages of a book by the sea…” 1967-1996 Page 2 The Genesis Discography The Genesis Discography January 1998 Edition Copyright © 1998 Scott McMahan, All Rights Reserved The Genesis Discography Page 3 THE EXODUS ENDS “And then there was the time she sang her song, and nobody cried for more…” “I think that in the end, if all else is conqured, Bombadil will fall, Last as he was First, and then Night will come.” … from the Council of Elrond, in Lord of the Rings Indeed, since its beginning in 1993, The Genesis Discography has been a fixture on the Internet much like Tom Bombadil was in Middle Earth. It has endured in the face of the changing times, without itself changing much, isolated off in its own world. Glorfindel had the opinion that Bombadil would be the last to fall, after all else was lost, last as he was first. In Tolkien’s story, that opinion was never tested. Good triumphed over evil, and everyone lived happily ever after. Not true on the Internet. Since 1993, the forces of evil have created a desolation and oppression that Sauron even with the help of his ruling ring could not imagine perpetrating. From the days of the Internet as an academic research network until today’s Internet I have witnessed ruination unbelieveable. The decay, corruption, and runiation of the Internet boggles my mind. Like Tom Bombadil in his carefully demarcated borders, The Genesis Discography has been an island in the storm, surrounded on all sides but never giving in.
  • Xango Music Distribution Release #20 – 2015 Pagina | 1

    Xango Music Distribution Release #20 – 2015 Pagina | 1

    Xango Music local music from all over the world Office: Singelstraat 1, 3513 BL Utrecht, NL www.xmd.nl - [email protected] - +31 6 50 999 123 Warehouse: Berenkoog 53 C, 1822 BN, Alkmaar (NL) e: [email protected] t: +31 (0)72 - 567 3030 NEW RELEASES NR. 20 – 2015 Release November 20: Dennis Bovell: Dub 4 Daze GBLP 28 / 4030433602812 / label: Glitterbeat / format: LP (180g) / UK – Dub One of the most revered dub and reggae producers, Dennis Bovell has been leaving his mark on contemporary music for over 40 years. Born in Barbados, Bovell moved to south London at the age of 12 and by his late teens had started a musical trajectory that profoundly influenced Britain’s emerging roots, lovers rock, soundsystem and dub cultures. As a musician, songwriter and producer, Bovell spearheaded the seminal British reggae acts Linton Kwesi Johnson and Matumbi and was notably involved in the late 70’s UK punk/post-punk scene as the producer for The Slits, The Pop Group and Orange Juice. Dennis has also worked with Marvin Gaye, Ryuchi Sakamoto, Fela Kuti and most recently Joss Stone. “Dub 4 Daze” deeply mines Bovell’s inspired catalog of rhythms and sounds. Dennis describes the material as: “a collection of different dub mixes I found buried in my archive, and a few newly mixed cuts, done after re-exploring some earlier recorded material. I baked some 2" masters, transferred them to digital and mixed them using an analogue desk.”. Riccardo Tesi & Banditaliana: Maggio VM 3003 / 8012957991135 / label: Visage Music / format: CD / Italy - Folk The Italian quartet Banditaliana, with its sunny mix of Tuscan traditional music, a whiff of jazz and Mediterranean songs, has been a welcome guest at festivals and stages in the international world music scene for years.
  • Une Étude De L'oralittérature Dans Les Poèmes De Jean Binta Breeze

    Une Étude De L'oralittérature Dans Les Poèmes De Jean Binta Breeze

    UNIVERSITÉ DE STRASBOURG ÉCOLE DOCTORALE 99 « Humanités » DUB POETRY Une étude de l’oralittérature dans les poèmes de Jean Binta Breeze, Linton Kwesi Johnson et Benjamin Zephaniah Tome 1 : Thèse David BOUSQUET Thèse de doctorat Etudes anglophones sous la direction de M. Christian GUTLEBEN vendredi 12 novembre 2010 Jury M. Christian GUTLEBEN (Université de Nice Sophia Antipolis) Mme Claire OMHOVERE (Université Paul Valéry – Montpellier 3) Mme Catherine PESSO-MIQUEL (Université Lumière – Lyon 2) Mme Charlotte STURGESS (Université de Strasbourg) 1 Errata Tome I p.14, note 2 : lire « observateurs » au lieu de « observatuers » p. 31 : lire « géographiques » au lieu de « géographies » p. 47 : lire « écrite/occidentale/savante » au lieu de « écrite/occidentale savante » p.61 : lire « n’est pas vue » au lieu de « n’est pas vue tant comme » p. 72 : lire « leur fonction » au lieu de « sa fonction » p. 73 : lire « ses caractéristiques » au lieu de « ces caractéristiques » p. 78 : lire « nécessaire de s’arrêter » au lieu de « nécessaire se s’arrêter » et « Peter Habekost » au lieu de « Christian Habekost » p. 79 : lire « (Habekost, 1986 : 13) » au lieu de « Habekost, 13 » p. 79, note 3 : lire « Peter Habekost » au lieu de « Christian Habekost » p. 83 : lire « Toute la discussion » au lieu de « Toute sa discussion » p. 95 : lire « critical standards can be applied. » au lieu de « critical standards can be applied.. » p. 97, note 3 : « lire « have two volumes » au lieu de « have tow volumes » p. 102 : lire « sont marquées » au lieu de « sont marqués » p. 113, note 6 : lire « (« call/response pattern ») » au lieu de « (« call/response patter ») » p.
  • Mongrel Nation: Diasporic Culture and the Making of Postcolonial Britain

    Mongrel Nation: Diasporic Culture and the Making of Postcolonial Britain

    MONGREL NATION Ashley Dawson MONGREL NATION Diasporic Culture and the Making of Postcolonial Britain THE UNIVERSITY OF MICHIGAN PRESS Ann Arbor Copyright © by the University of Michigan 2007 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2010 2009 2008 2007 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Dawson, Ashley, 1965– Mongrel nation : diasporic culture and the making of postcolonial Britain / Ashley Dawson. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-472-09991-7 (cloth : acid-free paper) ISBN-10: 0-472-09991-4 (cloth : acid-free paper) ISBN-13: 978-0-472-06991-0 (pbk. : acid-free paper) ISBN-10: 0-472-06991-8 (pbk. : acid-free paper) 1. English literature—Minority authors—History and criticism. 2. English literature—20th century—History and criticism. 3. Commonwealth literature (English)—History and criticism. 4. Postcolonialism in literature. 5. Immigrants in literature. 6. Minorities in literature. 7. Literature and society—Great Britain—History—20th century. 8. Postcolonialism—Great Britain. 9. Pluralism (Social sciences)—Great Britain. 10. Ethnic groups— Great Britain—History—20th century. I. Title. PR120.M55D39 2007 820.9'3552—dc22 2006036421 ISBN13 978-0-472-02505-3 (electronic) —Daniel Defoe, The True-Born Englishman Thus from a mixture of all kinds began, That Het’rogeneous Thing, An Englishman: In eager Rapes, and furious Lust begot, Betwixt a Painted Britton and a Scot: Whose gend’ring Offspring quickly learned to bow, And yoke their Heifers to the Roman Plough: From whence a Mongrel Half-Bred Race there came, With neither Name nor Nation, Speech or Fame.
  • Anti-Blues Music, Dub and Racial Identity

    Anti-Blues Music, Dub and Racial Identity

    Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk Article (Accepted Version) Haddon, Mimi (2017) Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk. Popular Music, 36 (2). pp. 283-301. ISSN 0261-1430 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/67704/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk 1 Mimi Haddon 29.01.2016 ‘Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk’ Abstract This article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s.
  • The Politics of Loving Blackness in the UK By

    The Politics of Loving Blackness in the UK By

    The Politics of Loving Blackness in the UK By Lisa Amanda Palmer A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of American and Canadian Studies The University of Birmingham March 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Can ‘loving blackness’ become a new discourse for anti-racism in the UK and the broader black diaspora? This thesis will critically assess the concept of ‘loving blackness as political resistance’ as outlined by the African American feminist bell hooks (1992). The thesis will show the ways in which blackness has been both negated and denigrated in western cultures and thus constructed in opposition to notions of love and humanness. Conversely, love and blackness are also rehabilitated in different ways by Black diasporic populations in Britain through the transnational space. The transnational space can provide opportunities for constructing, networks of care, love and anti racist strategies that affirm the value of blackness and Black life. However, the transnational space can also be fraught with risks, dangers and exclusions providing Black and migrant populations with uneven forms of citizenship and belonging to western neo-liberal states.