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George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
The Art of Regeneration: the Establishment and Development of the Foundation for Art and Creative Technology, 1985–2010
The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010 Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Jane Clayton School of Architecture, University of Liverpool August 2012 iii Abstract The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985-2010 Jane Clayton This thesis is about change. It is about the way that art organisations have increasingly been used in the regeneration of the physical environment and the rejuvenation of local communities, and the impact that this has had on contemporary society. This historical analysis of the development of a young art organisation, the Foundation for Art and Creative Technology (FACT), which has previously not been studied in depth, provides an original contribution to knowledge with regard to art and culture, and more specifically the development of media and community art practices, in Britain. The nature of FACT’s development is assessed in the context of the political, socio- economic and cultural environment of its host city, Liverpool, and the organisation is placed within broader discourses on art practice, cultural policy, and regeneration. The questions that are addressed – of local responsibility, government funding and institutionalisation – are essential to an understanding of the role that publicly funded organisations play within the institutional framework of society, without which the analysis of the influence of the state on our cultural identity cannot be achieved. The research was conducted through the triangulation of qualitative research methods including participant observation, in-depth interviews and original archival research, and the findings have been used to build upon the foundations of the historical analysis and critical examination of existing literature in the fields of regeneration and culture, art and media, and museum theory and practice. -
Liverpool John Moores
International Study Centre Prospectus 2013/2014 1 2 3 4 5 6 7 8 9 10 welcome to Liverpool John Moores University Ranked in the top 100 universities world-wide under the age of 50, LJMU offers you an exceptional international student experience, founded on high quality teaching, ground-breaking research and extensive links with employers and business leaders. That’s why we are confi dent that our degrees are not only intellectually stimulating but will also equip you with the skills and experience required for professional success. This guide will give you lots of information about the Liverpool John Moores University (LJMU) International Study Centre and demonstrate why we believe that we can offer you a life changing and career boosting international student experience. This guide summarises just 10 reasons why you should choose to study at LJMU. To fi nd out more, go to: www.ljmu.ac.uk/isc Ranked in the top 50 UK universities 6 Higher Education Ranked in the top 100 universities for teaching excellence Academy awards for world-wide under (Sunday Times Good University Guide 2012) outstanding teaching the age of 50 (Times Higher Queen’s Anniversary Prize for excellence in astronomy and public engagement in science Education 2012) welcome from the Vice-Chancellor and Chief Executive, Professor Nigel Weatherill Scholarship, research and learning is at the very be fi nding rewarding employment, embarking on heart of everything we do. It drives our curriculum further learning or starting your own business. and is the foundation of our interaction with industry, business and the community. -
Courses for International Students
COURSES FOR 2020 INTERNATIONAL STUDENTS POSTGRADUATE One of the most affordable and safe student cities ❚ A globally recognised university in the UK, Liverpool is packed with attractions. There’s a legendary music scene that’s bigger than ❚ Ranked in the top 150 Universities under the Beatles; a city centre brimming with clubs, pubs, 50 years old in the world bars, restaurants and cafés; award-winning shopping (Young University Rankings 2019, LIVERPOOL facilities, museums, galleries and theatres, not to mention two Premier League football clubs, golf Times Higher Education) courses, beautiful parks and outstanding countryside just a short drive away. ❚ The University has invested over £160 million over the last 10 years in new capital projects A GREAT PLACE TO LIVE, Come to study in this magnificent city and you are guaranteed a second home for life. and modernising existing buildings and facilities When it comes to exploring Liverpool, there are plenty of ❚ All new LJMU international students are opportunities to get involved with the city’s culture and guaranteed a place in high quality University- A GREAT PLACE TO STUDY arts scene during your studies. Listen to live concerts of all genres from classical orchestras to local bands, watch a approved student accommodation performance in one of the city’s many theatres or visit our great art galleries and museums with exhibitions to suit everyone’s interests. As an LJMU student, you will have world-class attractions and exciting events on your doorstep to enjoy all year round. Throughout your application we will take great care to make sure you have all the information and support you need to plan for your studies at LJMU. -
Beatles History – Part One: 1956–1964
BEATLES HISTORY – PART ONE: 1956–1964 January 1956–June 1957: The ‘Skiffle Craze’ In January 1956, Lonnie Donegan’s recording of “Rock Island Line” stormed into the British hit parade and started what would become known as the ‘skiffle craze’ in Great Britain (vgl. McDevitt 1997: 3). Skiffle was originally an amateur jazz style comprising elements of blues, gospel, and work songs. The instrumentation resembled New Or- leans street bands called ‘spasms,’ which relied on home-made instru- ments. Before skiffle was first professionally recorded by American jazz musicians in the 1920s and 1930s, it had been performed at ‘rent parties’ in North American cities like Chicago and Kansas City. Many African- American migrant workers organized rent parties in order to raise money for their monthly payments (vgl. Garry 1997: 87). Skiffle provided the musical entertainment at these parties, as everybody was able to partici- pate in the band, which usually consisted of home-made acoustic guitars or a piano backed by a rhythm section of household instruments, such as a washboard, a washtub bass, and a jug (vgl. McDevitt 1997:16). Jazz trumpeter and guitarist Ken Colyer pioneered the skiffle scene in Great Britain. In 1949, he formed the Crane River Jazz Band in Cran- ford, Middlesex, together with Ben Marshall (guitar), Pat Hawes (wash- board), and Julian Davies (bass). Their repertoire included skiffle songs “to illustrate aspects of the roots of jazz and to add variety to a pro- gramme” (Dewe 1998: 4). After leaving the group in 1951, Colyer mi- grated to the United States to work with jazz musicians in New Orleans. -
Liverpool John Moores University Green Travel Plan
LJMU Green Travel Plan MDS LIVERPOOL JOHN MOORES UNIVERSITY GREEN TRAVEL PLAN July 2015 @LJMUGoGreen @Merseytravel @LiverpoolSU Version Control Owner: Rachael Hanmer-Dwight Version: 1.2 – Summer 2015 Review Date: Summer 2016 Page 1 LJMU Green Travel Plan Contents 1. Overview 1.1. Aim of the Travel Plan 1.2. LJMU Masterplan and Student Connected Village 2. Objectives and Targets 3. Existing and New Targets 3.1. Staff Travel Survey Results 3.2. Student Travel Survey Results 4. Working in Partnership 4.1. Travel Plan Partnership 4.2. Employers Network Forum 4.3. Liverpool Citybike Scheme 4.4. Liverpool Students’ Transport Charter 5. Modes of Travel and Support 5.1. Walking and Cycling 5.2. Public Transport & Journey Apps 5.3. Buses 5.4. Trains 5.5. Fares and Tickets 5.6. IM Marsh Travel Grant 5.7. Ferry 5.8. Taxis 5.9. Car and Journey Share 5.10. Driving, Parking and Electric Vehicles 5.11. Disabled Access 6. Sustainable Travel Initiatives at LJMU 7. Campus Assessment 7.1. City Centre Campus 7.2. Mount Pleasant Campus 7.3. IM Marsh Campus 7.4. Lairdside Maritime Centre 7.5. Copperas Hill 8. Key Recommendations 9. Going Forward 10. Key Contacts & Social Media Appendix A: Policy Context Appendix B: Merseytravel Maps Appendix C: LJMU Location Map Appendix D: Campus Cycling Facilities Appendix E: Walking Distances Matrices Appendix F: LJMU Car Parking Schedule and Permit Allocation Appendix G: Liverpool Students’ Transport Charter Appendix H: LJMU Green Travel Action Plan Page 2 LJMU Green Travel Plan 1. Overview 1.1. Aim of the Travel Plan This Travel Plan has been developed by Liverpool John Moores University and Merseytravel to assist with the delivery of initiatives and communications to staff and students, promoting the use of sustainable transport in order to minimise the impact on the environment, and achieving carbon and cost savings for the University, its staff and its students. -
To Rudolf Frieling
To Rudolf Frieling 8 November 2014 Granby TriangleImage courtesy Charlotte Horn Rudolf Frieling San Francisco, USA San Francisco, USA 8 November 2014 R Thanks for your invitation to write something short about Candice Breitz’s Working Class Hero (A Portrait of John Lennon), the piece we have at SFMOMA. You know, my first art-related job was in Liverpool. I once taught a course in Minimalism and Pop Art in the art department of Liverpool John Moores University (Liverpool College of Art, it used to be called), the school where, decades earlier, John Lennon studied. Lennon, aged seventeen, enrolled in September 1957, a month before he and Paul McCartney shared a stage for the first time. Paul was fifteen; his high school adjoined the college. I was back in Liverpool recently and took a different kind of tour – one led by artists and activists who are engaged with the housing crisis in the city. They’re fighting the alliance between government and business that’s dismantling the remaining working-class neighbourhoods. It’s said that the old terraces are worth more as bricks in London than they are as houses in Liverpool — one city is consuming the other. The tour began at the former Park Palace theatre, where John Lennon’s mother, Julia, often saw movies. She was killed in a car accident in 1958. The Park Palace closed in 1959, became a pharmacy, then a vehicle repair shop, then it fell into disuse. Our tour later stopped at the Empress pub, where John and Ringo used to drink. Mural portraits of the two of them are in alcoves high up on the facade. -
Introduction
Notes Introduction 1 . The literature on American ‘rock ’n’ roll’ and ‘rhythm and blues’ is vast. Two books stand out in presenting detailed explorations of the origins and develop- ment of these musical genres and their impact on wider US society. For rock ’n’ roll, see G. C. Altschuler, All Shook Up: How Rock ’n’ Roll Changed America (Oxford, 2003) and for ‘rhythm and blues’, B. Ward, Just My Soul Responding: Rhythm and Blues, Black Consciousness and Race Relations (London, 1998). 2 . The emphasis on England and the English experience of popular music does not necessarily suggest that the relationship between class and youth culture was always different in Wales, Scotland and Northern Ireland, but in some respects it clearly did differ. For examples in the literature, see S. Hill, Blerwytirhwg? The Place of Welsh Pop Music (Aldershot, 2007); M. Kielty, Big Noise: The History of Scottish Rock ’n’ Roll (Edinburgh, 2006); D. Cooper, The Musical Traditions of Northern Ireland and Its Diaspora: Community and Conflict (Aldershot, 2010). 3 . There are really only two academic books written by historians devoted to this aspect of British society. See B. Osgerby, Youth Culture in Britain Since 1945 (Oxford, 1998) and D. Fowler, Youth Culture in Modern Britain, c1920–1970 (Basingstoke, 2008). 4 . W. Straw, ‘Consumption’, in Frith, Straw and Street (eds), The Cambridge Companion to Pop and Rock , p. 55. For a critical survey of the limited histories of popular music, see S. Frith, ‘Writing the History of Popular Music’, in H. Dauncy and P. Le Guern (eds), Stereo: Comparative Perspectives on the Sociological Study of Popular Music in France and Britain (Aldershot, 2011), pp. -
The Role of Museums and the Arts in the Urban Regeneration of Liverpool
ORIGINAL: The Role of museums and the arts in the urban regeneration of Liverpool. Edited by Pedro Lorente. Leicester : Centre for Urban History. University of Leicester, 1996. 172 p. (Working paper / Centre for Urban History ; 9) 1 2 CONTENTS: -Introduction. J. Pedro Lorente p. 2 -Liverpool's urban regeneration initiatives and the arts: a review of policy development and stratregic issues. Richard Evans p. 9 -Making creative connections. Our architectural townscape and its re-use potential for museums and the arts. Susan Carrnichael. p. 25 -Museums as catalysts for the revitalisation of ports in decline: lessons from Liverpool and Marseilles. J. Pedro Lorente p. 33 -Museums and welfare: shared space. Lewis Biggs p. 59 -Some museum developments in Liverpool and their benefits to the community. Patrick Sudbury and Jim Forrester. p. 68 -The contribution of tbe arts scene to tbe revitalisation of declining inner city areas in Liverpool and Marseilles. J.Pedro Lorente p. 88 -Liverpool City Council and tbe evolution of the ‘Creative Quarter’. Andrew Green p. 114 -The leap frog effect. Terry Duffy p. 122 -Communities of art. Kate Stewart p. 125 -Art and community: regeneration or gentrification. Ibrahim Thompson p. 149 3 Introduction. J.-Pedro LORENTE Liverpool is undoubtedly one of the best study cases one could choose to discuss the role of museums and the arts in the regeneration of deprived urban areas. Previous work on this topic had shown very interesting examples in districts of New York, Baltimore, Paris, Dublin, Barcelona, Berlin or London. But obviously in such rich and burgeoning cities urban revitalisation has been boosted by an array of vested interests, among which the arts sector was just one component -and not necessarily the most consequential. -
Financial Statements 2015 35 Liverpool John Moores University
Financial Statements for the year ending 31 July 2015 VISION To be recognised as a modern civic university delivering solutions to the challenges of the 21st century MISSION Our mission is to create and sustain a vibrant community for learning and knowledge where staff and students work together in an active and supportive partnership; providing opportunities to enrich our students, partners and wider society through education, training, research, scholarship and knowledge transfer. Liverpool John Moores University 3 Liverpool John Moores University Contents Page Operating and Financial Review 5 Public Benefit Statement 13 Board of Governors 21 Officers and Advisors of the University 22 Responsibilities of the Board of Governors 22 Corporate Governance 23 Report of the Auditors 32 Statement of Principal Accounting Policies 33 Consolidated Income and Expenditure Account 35 Statement of Consolidated Total Recognised Gains and Losses 36 Balance Sheets 37 Consolidated Cash Flow Statement 39 Notes to the Financial Statements 40 4 Liverpool John Moores University Operating and Financial Review Scope of the Financial Statements These are the consolidated statutory accounts of Liverpool John Moores University and its subsidiaries for the year ended 31 July 2015. Vision and Mission Our Vision is to be recognised as a modern civic university delivering solutions to the challenges of the 21st century. Our mission is to create and sustain a vibrant community for learning and knowledge where staff and students work together in an active and supportive partnership: providing opportunities to enrich our students, partners and wider society through education, training, research, scholarship and knowledge transfer. Strategic Objectives Our actions in pursuing our Vision and Mission are guided by our Strategic Framework for 2012 to 2017 which sets out a detailed roadmap for the University. -
Liverpool John Moores University
Liverpool John Moores University Liverpool John Moores University Liverpool John Moores University (abbreviated LJMU) is a public research university in the city of Liverpool, England. The university can trace its origins to the Liverpool Mechanics' School of Arts, established in 1823. This later merged to become Liverpool Polytechnic. In 1992, following an Act of Parliament, the Liverpool Polytechnic became what is now Liverpool John Moores University. It is named after Sir John Moores, a local businessman and philanthropist, who donated to the university's precursor institutions. The university had 24,030 students in 2018/19, of which 19,465 are undergraduate students and 4,655 are postgraduate, making it Coat of Arms the 35th largest university in the UK by total student population. Motto Latin: Audentes fortuna juvat It is a member of the University Alliance, the Northern Motto Fortune favours the bold in English Consortium and the European University Association. Type Public Established 1823 - Liverpool History Mechanics' School of Arts 1992 - Liverpool Origins John Moores University Founded as a small mechanics institution (Liverpool Mechanics' Chancellor Sir Brian Leveson School of Arts) in 1823, the institution grew over the centuries by Vice- Ian Campbell converging and amalgamating with different colleges, including Chancellor the F.L.Calder School of Domestic Science, the City of Administrati 1,095 Liverpool C.F. Mott Training College, before eventually ve staff becoming Students 24,030 (2018/19) Liverpool Polytechnic in 1970. The University also has a long Undergradu 19,465 (2018/19) history of providing training, education and research to the ates maritime industry, dating back to the formation of the Liverpool Postgraduat 4,655 (2018/19) Nautical College in 1892.