DOCSLIB.ORG

Toward an African Animal Studies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Toward an African Animal Studies TOWARD AN AFRICAN ANIMAL STUDIES TOWARD AN AFRICAN ANIMAL STUDIES: ON THE LIMITS OF CONCERN IN GLOBAL POLITICS By JESSE ARSENEAULT, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University © Copyright by Jesse A.J. Arseneault, May 2016 McMaster University DOCTOR OF PHILOSOPHY (2016) Hamilton, Ontario (English and Cultural Studies) TITLE: Toward an African Animal Studies: On the Limits of Concern in Global Politics AUTHOR: Jesse Arseneault, B.A. (Brock University), M.A. (McMaster University) SUPERVISOR: Professor Helene Strauss NUMBER OF PAGES: vii, 268 ii LAY ABSTRACT This thesis responds to the question of how we show concern for animals in postcolonial, globalized, and postconflict worlds. Drawing on the example of multiple texts in African literature, film, and other media, it explores how Africa itself has long been construed in the global imagination as a zone associated with animality. This association appears in texts produced within the West and Africa whose accounts of the continent imagine it to be outside the realm of human ethical concern. Demonstrating how exclusive human ethical concern is for African lives, both human and animal, this thesis argues for an ethics of concern that does not revolve around exclusively the human in postcolonial African studies. iii ABSTRACT This project attempts to bridge conversations between the predominantly Western canon of animal studies and the frequently humanist approach to postcolonial African studies. Drawing on these sometimes incompatible fields, this thesis proposes two premises that emerge from close readings of African cultural texts. First, “Africa” as a discursive construct has long been associated with animals, animality, and the category of the nonhuman, evident in, to give some examples, the current touristic promotion across the globe of African wildlife as an essential part of its continental identity, local and global anxieties over zoonotic transmissions of disease, and the history of race science’s preoccupation with animalizing black and indigenous African bodies. My second premise suggests that in postcolonial and especially African contexts ostensibly “human” concerns are inextricably tied to both the categorical limitations imposed by imperial paradigms of animalization and the precarious existence of nonhuman animals themselves, concern for whom is often occluded in anthropocentric postcolonial discourse. In my dissertation, I examine the role that texts play in directing affective relations of concern locally and globally, reading fictional texts as well as news media, conservation literature, and tourist advertisements. Through these works I examine the complex and often cantankerous politics of cultivating interspecies concern in postcolonial contexts, ranging from the globalized commodification of African wildlife and the dubious international policies that ostensibly protect it, the geography of the North American safari park, the animalization of queer bodies by African state leaders, textual representations of interspecies intimacy, and accounts of the Rwandan genocide. iv ACKNOWLEDGMENTS I offer my thanks to the Social Sciences and Humanities Research Council of Canada, McMaster University’s Department of English and Cultural Studies, the University of the Free State’s Department of English, and Concordia University’s Department of English. All of these organizations provided invaluable intellectual support and the funding that realized this project. There are a range of people without whose input this project would never have been completed. Most important were those mentors whose enthusiasm and guidance— not to mention the long hours of reviewing my work—brought me to the end of the PhD. I owe thanks first and foremost to Helene Strauss for sticking with me through two degrees. I also thank Susan Spearey for first awakening my interest in postcolonial studies. To my committee members, Susie O’Brien and Anne Savage, I offer thanks for their generous commentary on my writing. All of the above shaped my own enthusiasm for this project and lent their support through its most difficult points. I offer my thanks as well to Rosemary Collard and Julia Freeman, both for making Montreal feel like home for me and the hopefully-evident traces of Friday cinq à sept conversations in this work. It is difficult to think of this thesis as being my own. To my mind, it belongs to those without whom it wouldn’t have been possible, the family, friends, colleagues, and communities that give life to my ability to write anything at all. They, in various ways, provided the raw materials for this work. Of my family I thank my mother, Sue Arseneault, first and foremost. Her generosity knows no bounds. I also thank my father, Joel Arseneault, as well as my sisters, Leah, Anna, and Emily. I also thank my close v friends: Rachel Cunningham, McKinley Raham, John Athanassiades, and Monica Drenth. I look forward to the long-overdue visits that will accompany the submission of this manuscript. To my fellow students at McMaster, graduated, still-to-graduate, and those having already escaped academia for their own reasons, I wish all the best: I thank Erin Julian, Sarah D’Adamo, Kasim Husain, Melissa Carol, Nick Buffo, Christina Brooks, and Cassel Busse in particular. I thank Jessica Carey for being my family and confidante in Hamilton, and for many delicious vegan meals. I hope there are more to come. To both of my fourth-year classes at Concordia University, “African Animalities” and “Global Animalities,” I am grateful for the weekly discussions and the inspirations we drew from one another in crafting our various projects. Chapters Two and Three of this thesis found their early stages in an article of mine published in ESC: English Studies in Canada, and I am grateful for the input of their editors and their consent to let me draw on portions of that article. For their commentary on the Rwanda sections of this paper and for helping me manage to turn what began as a 12-page essay into a two-chapter consideration of animal representation in genocide, I also offer my thanks to David Clark, Karyn Ball, and Melissa Haynes. Two nonhuman animals have accompanied me through this project, and they deserve recognition for compelling me beyond the limits of humanness. I thus offer my thanks to Harper and Hawksley as well. Finally, and most importantly, I thank my partner, Bernard Lansbergen, for loving and living alongside me through this project and beyond. vi TABLE OF CONTENTS Introduction……………………………………………………………………………… 1 Chapter One……………………………………………………………………………. 40 African Animalities: On Postcolonialism, Visual Culture, and the Image of Africa Chapter Two……………………………………………………………………………. 82 What Puts the “Human” in “Humanitarian?”: Species Sovereignty and Narratives of the Rwandan Genocide Chapter Three………………………………………………………………………… 126 Sovereignty’s Strays: Animal Rights, Canicide, and Concern Chapter Four………………………………………………………………………….. 173 Intimacy, Intercorporeal Cohabitation, and African Zones of Interspecies Contact Conclusion…………………………………………………………………………….. 238 Works Cited…………………………………………………………………………… 245 vii Ph.D. Thesis – J. Arseneault; McMaster University – English and Cultural Studies Introduction Animals are my concern. Whether in the form of a figure or not. They multiply, lunging more and more wildly in my face in proportion as my texts seem to become autobiographical, or so one would have me believe. (Jacques Derrida, “The Animal That Therefore I Am [More to Follow]” 403) How does one show concern for other-than-human animals in contexts where human life is precarious? This is the question from which the bulk of this inquiry into African animal life and death derives, though it merits some scrutiny. The question, focusing on shows of concern, is already interested not in concern as such, but in how it enters the field of visibility. This signals perhaps one of the most challenging facets of analyzing concern, in that—as an affect—it is presumably apparent only through the material-semiotic responses it motivates, even as those responses may be the very things that render concern intelligible, circulate it, or produce it. The question of how concern is mediated by various actions and texts will form a substantial part of this project. In interrogating the question of concern, the project will be interested in how the affective dimensions of it manifest in actions directed toward animals, and in the various institutions dedicated to liberating, regulating, killing, exploiting, or defending animal life in African spaces. Asked at the start of a project focused on Africa, the question perhaps presumes too much about the relation between that geographical zone and precarity, and the work that follows will resist as much as possible any simple account of this relation. It is, however, partly because of the persistence of narratives that make Africa the place on the globe most associated with precarity that this project focuses on that location. 1 Ph.D. Thesis – J. Arseneault; McMaster University – English and Cultural Studies But there is another unstable relation at work in that question: the one drawn between human life and shows of concern for animals, as if the world in which human precarity exists did not always already intersect with the worlds in which other-than- human animals live and die. In zones of widespread structural precarity, those in conflict or facing an
Load more

Recommended publications
  • Animal Imagery in Toni Morrison: Degradation and Community
    Cusanelli 1 Olivia Cusanelli ENG 390 Dr. Boudreau 29 April 2016 Animal Imagery in Toni Morrison: Degradation and Community Toni Morrison’s novels Song of Solomon and Beloved are rich with imagery of nature that often connects with the characters. Something which is not always a prevalent aspect of the nature Morrison describes but is inherently present throughout the texts is the detailed descriptions and portrayal of animals. There are some explicit connections between animals and characters, most significantly between birds and Milkman and Paul D and numerous animals such as cows, beasts, and a rooster. What is so unique about the animals connected with the two central male characters of Song of Solomon and Beloved is the underlying symbolism associated with man and animal. Throughout both novels Milkman and Paul D are on very different paths of the African American male. Milkman, brought up in comfortable middle-class wealth has not been subjected to hardship because of his race unlike many of his peers. Paul D on the other hand, has struggled immensely during his life as a slave. The novels are set in two different time periods, Song of Solomon during 1931-1963 in Michigan, Pennsylvania, and Virginia and Beloved in 1873 Cincinnati, Ohio with flashbacks as far back as 1850. These two vastly different experiences as African American men are possibly a representation of the progression of the social roles of the African American male. In her novel Beloved Toni Morrison uses animals to portray the degradation of African American men through Paul D who struggles to obtain an ideal sense of manhood, and in Song of Solomon Morrison uses animals to show that in order to survive in this country as a black male, one must share the struggle through community.
    [Show full text]
  • The White Animals
    The 5outh 'r Greatert Party Band Playr Again: Narhville 'r Legendary White AniMalr Reunite to 5old-0ut Crowdr By Elaine McArdle t's 10 p.m. on a sweltering summer n. ight in Nashville and standing room only at the renowned Exit/In bar, where the crowd - a bizarre mix of mid­ Idle-aged frat rats and former punk rockers - is in a frenzy. Some drove a day or more to get here, from Florida or Arizona or North Carolina. Others flew in from New York or California, even the Virgin Islands. One group of fans chartered a jet from Mobile, Ala. With scores of people turned away at the door, the 500 people crushed into the club begin shouting song titles before the music even starts. "The White Animals are baaaaaaack!" bellows one wild-eyed thirty­ something, who appears mainstream in his khaki shorts and docksiders - until you notice he reeks of patchouli oil and is dripping in silver-and-purple mardi gras beads, the ornament of choice for White Animals fans. Next to him, a mortgage banker named Scott Brown says he saw the White Animals play at least 20 times when he was an undergrad at the University of Tennessee. He wouldn't have missed this long-overdue reunion - he saw both the Friday and Saturday shows - for a residential closing on Mar-A-Lago. Lead singer Kevin Gray, a one-time medical student who dropped his stud­ ies in 1978 to work in the band fulltime, steps onto the stage and peers out into the audience, recognizing faces he hasn't seen in more than a decade.
    [Show full text]
  • If the Stones Were the Bohemian Bad Boys of the British R&B Scene, The
    anEHEl s If the Stones were the bohemian bad boys of the British R&B scene, the Animals were its working-class heroes. rom the somber opening chords of the than many of his English R&B contemporaries. The Animals’ first big hit “House of the Rising Animals’ best records had such great resonance because Sun,” the world could tell that this band Burdon drew not only on his enthusiasm, respect and was up to something different than their empathy for the blues and the people who created it, but British Invasion peers. When the record also on his own English working class sensibilities. hitP #1 in England and America in the summer and fall of If the Stones were the decadent, bohemian bad boys 1964, the Beatles and their Mersey-beat fellow travellers of the British R&B scene, the Animals were its working- dominated the charts with songs like “I Want to Hold Your class heroes. “We Gotta Get Out of This Place” and “It’s My Hand” and “Glad All Over.” “House of the Rising Sun,” a tra­ Life,” two Brill Building-penned hits for the band, were ditional folk song then recently recorded by Bob Dylan on informed as much by working-class anger as by Burdons his debut album, was a tale of the hard life of prostitution, blues influences, and the bands anthemic background poverty and despair in New Orleans. In the Animals’ vocals underscored the point. recording it became a full-scale rock & roll drama, During the two-year period that the original scored by keyboardist Alan Price’s rumbling organ play­ Animals recorded together, their electrified reworkings of ing and narrated by Eric Burdons vocals, which, as on folk songs undoubtedly influenced the rise of folk-rock, many of the Animals’ best records, built from a foreboding and Burdons gritty vocals inspired a crop of British and bluesy lament to a frenetic howl of pain and protest.
    [Show full text]
  • Sky Pilot, How High Can You Fly - Not Even Past
    Sky Pilot, How High Can You Fly - Not Even Past BOOKS FILMS & MEDIA THE PUBLIC HISTORIAN BLOG TEXAS OUR/STORIES STUDENTS ABOUT 15 MINUTE HISTORY "The past is never dead. It's not even past." William Faulkner NOT EVEN PAST Tweet 19 Like THE PUBLIC HISTORIAN Sky Pilot, How High Can You Fly by Nathan Stone Making History: Houston’s “Spirit of the Confederacy” I started going to camp in 1968. We were still just children, but we already had Vietnam to think about. The evening news was a body count. At camp, we didn’t see the news, but we listened to Eric Burdon and the Animals’ Sky Pilot while doing our beadwork with Father Pekarski. Pekarski looked like Grandpa from The Munsters. He was bald with a scowl and a growl, wearing shorts and an official camp tee shirt over his pot belly. The local legend was that at night, before going out to do his vampire thing, he would come in and mix up your beads so that the red ones were in the blue box, and the black ones were in the white box. Then, he would twist the thread on your bead loom a hundred and twenty times so that it would be impossible to work with the next day. And laugh. In fact, he was as nice a May 06, 2020 guy as you could ever want to know. More from The Public Historian BOOKS America for Americans: A History of Xenophobia in the United States by Erika Lee (2019) April 20, 2020 More Books The Munsters Back then, bead-craft might have seemed like a sort of “feminine” thing to be doing at a boys’ camp.
    [Show full text]
  • Our Autumn Production of the Farce, Caught on the Hop by Derek Benfield, Although Playing to Somewhat Diminished Audiences
    Our Autumn Production of the farce, Caught on the Hop by Derek Benfield, although playing to somewhat diminished audiences, provided a great evening’s entertainment to those who did turn out to support us. We congratulate again the cast of David Rose, David Fanthorpe, Julie Cumbo, Vicki Stanbury, Jackie Barrett, Tony Goddard, Croia Reilly and Biff Harrison who worked really well together under the direction of Chris Hepher. Reviews were favourable, with newcomer to The Barn, Julie Cumbo, receiving special praise for her portrayal of Maggie, the long suffering wife of serial philanderer Phil. Preparations are already underway for our exciting January 2005 Pantomime, Snow White and the Seven Dwarfs, directed by Janette White with Lawrie Horton as Musical Director and Fran Roberts (nee Newitt) as Choreographer. Carly Thompson is our Snow White with Chrissie Webb as her wicked Stepmother. Vicki Stanbury who was Jack in our 2004 Panto plays the Prince and we are very pleased to welcome back to The Barn, after several years’ absence at University, Lucy Coward as Sir Dashing. Our Dame this year is Mike Rourke as Nursey who teams up with new member Jonathan Wilson as Muddles to provide much of the comedy. Janette has chosen a mixture of adults and teenagers to portray the seven “little people” who are Kay Davies, Sophie McTavish, Sam Davies, Ben Atterbury, Laura Brand, Abigail Thomas-Verweij and Jo Cox. Fran has created lively dance routines for the dancing team of Tonia Porter, Neila Dawes, Nicola Wilson and Natalie Bristow and also for the Adult and the Junior Chorus members with some great popular songs.
    [Show full text]
  • War Eric Burdon Declares War
    War Eric Burdon Declares War When Maximilian vitriols his pembroke lace-ups not coyly enough, is Maurie censorial? Giuseppe often debit hoarsely when chokiest Sterling detoxicating prismatically and dimes her kytes. Binary and verboten Alfonse knobbling, but Marlon sluttishly reawake her sinusoid. The spiritual through the beginning ranks right back in these playlists and chas chandler had to watch this is unavailable in almost a dogmatic position rather than not the answer is eric burdon declares war. Often times and war eric burdon declares war was one foot is eric burdon declares war went into art washes away by the build system to the. The animals first heard this place, war eric burdon declares war defied expectations and more information you know about connection. Your favourites and filming his voice in newcastle grit to put apply the first member given the confining borders of them around the best buy your devices. Burdon ranting about the english as a mistake, a shy way. We got the great job! Deacon jones at home and settled, and receive these negative reviews are hiding in burdon declares war became a shy way. Growing up easily have temporarily unable to eric burdon turned on viewers and war eric burdon declares war. It was written or more traditional pop music every week to eric burdon declares war albums started. Born in safari browser will know everything was a different apple music guide to sit down now lost the rising sun over and rural south korea and burdon declares war. Lp eric burdon declares war two days beneath that night, your alipay password must pass an instant success escaped comparatively talented and fans.
    [Show full text]
  • Animal Traffic: Making, Remaking, and Unmaking Commodities in Global Live Wildlife Trade
    ANIMAL TRAFFIC: MAKING, REMAKING, AND UNMAKING COMMODITIES IN GLOBAL LIVE WILDLIFE TRADE by ROSEMARY-CLAIRE MAGDELEINE SOLANGE COLLARD A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Geography) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Rosemary-Claire Magdeleine Solange Collard, 2013 Abstract Against mass species loss and escalating concern over declining biodiversity, legal and illegal trade in wildlife is booming. Annually, it generates tens of billions of dollars and involves the circulation of billions of live and dead animals worldwide. This dissertation examines one dimension of this economy: flows of live, wild-caught animals – namely exotic pets – into North America. My central questions are: how are wild animals’ lives and bodies transformed into commodities that circulate worldwide and can be bought and owned? How are these commodities remade and even unmade? In answering these questions the dissertation is concerned not only with embodied practices, but also with broader, dominant assumptions about particular figures of the human and the animal, and the relations between them. This dissertation draws on reading across economic geography and sociology, political economy and ecology, and political theory to construct a theoretical approach with three strands: a commodity chain framework, a theory of performativity, and an anti-speciesist position. It weaves this theoretical grounding through multi-sited
    [Show full text]
  • The Concert of the Animals & Friends, Muzyczna Owczarnia, Szczawnica
    The concert of the Animals & Friends, Muzyczna Owczarnia, Szczawnica-Jaworki, 10th and 11th April 2016. This place is magical, here we can all be together, No matter who we are, no matter where we come from, Here peace and goodwill fills the air, here we are closer to God, While the music brings us together in joy. Even the most abstractive dreams come true. When I read on the website of Muzyczna Owczarnia that the Animals & Friends would perform at Wietek Kołodziejski, I could not believe that. Theoretical and practical thoughts ran through my mind as quickly as lightning, and then I called Wietek to ask him for a ticket and to Grzegorz Kasprzyk to book accommodation at his Koliba (chalet). Muzyczna Owczarnia. The interest was so high that there were two concerts: on Sunday 10th and on Monday 11th. I arrived in Jaworki on Saturday to tune myself in this emotional atmosphere:) Sylwia, Wietk’s wife, had everything ready. The musicians came on Sunday at 3 p.m. with Łukasz Gorczyca and Sebastian Kowol. Their presence was meaningful so there is a short mention about them. Łukasz Gorczyca - basist, composer, author of numerous projects, known from cooperation with many famous domestic and foreign musicians. There are among others: Patsy Gamble, Jennifer Batten, Terry Man, Andy Egert, Wheatbread Johnson, Griff Hamlin, Barry Richman, Alvon Johnson, Keith Thompson, Rob Tognoni, Risto Toppola, Chuck Frazier, Kellie Rucker, Billy Hamilton, Chaz de Paolo, Alex Rossi, Grainne Duffy, Ian Sands Blues Band, Krissy Matthews, Dave Ellis Blues Band, Janet Robin, Leon Hendrix, Noel Coutts.
    [Show full text]
  • Psaudio Copper
    Issue 142 AUGUST 2ND, 2021 Is there a reader among us who doesn’t dig ZZ Top? We mourn the passing of Joseph Michael “Dusty” Hill (72), bassist, vocalist and keyboardist for the tres hombres. Blending blues, boogie, bone-crushing rock, born-for-MTV visuals, humor and outrageousness – they once took a passel of live animals on stage as part of their 1976 – 1977 Worldwide Texas Tour – Hill, drummer Frank Beard and guitarist Billy F. Gibbons have scorched stages worldwide. As a friend said, “it’s amazing how just three guys could make that much sound.” Rest in peace, Mr. Hill. In this issue: Anne E. Johnson gets inspired by the music of Renaissance composer William Byrd, and understands The Animals. Wayne Robins reviews Native Sons, the superb new album from Los Lobos. Ray Chelstowski interviews The Immediate Family, featuring studio legends Waddy Wachtel, Lee Sklar, Russ Kunkel and others, in an exclusive video interview. I offer up more confessions of a record collector. Tom Gibbs finds much to like in some new SACD discs. John Seetoo winds up his coverage of the Audio Engineering Society’s Spring 2021 AES show. Ken Sander travels through an alternate California reality. WL Woodward continues his series on troubadour Tom Waits. Russ Welton interviews cellist Jo Quail, who takes a unique approach to the instrument. In another article, he ponders what's needed for sustaining creativity. Adrian Wu looks at more of his favorite analog recordings. Cliff Chenfeld turns us on to some outstanding new music in his latest Be Here Now column.
    [Show full text]
  • Introduction and Royal March of the Lion the Music & Zoology Of
    2019-2020 Young People’s Concert Series The Music & Zoology of Carnival of the Animals Camille Saint‐Saëns first imagined his famous Carnival of the Animals in the 1860s while working part time as a piano professor at a small music school in Paris. His idea was to create something fun on the side for which his students could perform the two solo piano parts. He wouldn’t finish writing the work however for another 20 years. After a difficult concert tour of Germany in 1885‐86, Saint‐Saëns took a vacation to the Austrian countryside. It was there while working on his Third Symphony that he finally decided to finish the Carnival. His first version of the work was written for just 11 players, including the two pianos and a few orchestral instruments. The work was given a handful of performances among Saint‐Saëns’ friends who hosted little private concerts. It was well‐liked, and word about it spread around Paris. But Saint‐Saëns refused to have the music published or even to allow the Carnival to be performed in public. He thought if people heard it, they wouldn’t think of him as a “serious” composer any more. Before he died, however, Saint‐Saëns arranged to have the work published after his death. For a work that he didn’t see as “serious,” it would probably make the composer grumpy to know that it’s now one of his most famous works! In the Carnival of the Animals, there are 14 short movements, or independent sections. Each movement highlights a different “animal” or group of animals.
    [Show full text]
  • 34 34A 34B 33 35 35A 35B 35C 35D
    P064-085_Discography2-JUL16_Lr1_qxd_P64-85 7/7/16 12:42 PM Page 64 {}MIKE CURB : 50 Years DISCOGRAPHY “SHAPE OF THINGS TO COME” (FROM THE MOTION PICTURE WILD IN THE STREETS ) ARTIST: MAX FROST AND “STORE STEALING” (FROM THE MOTION PICTURE MARYJANE , STARRING FABIAN) 3T3 HE TROOPERS WRITER: BARRY MANN, CYNTHIA WEIL PUBLISHER: SCREEN GEMS EMI MUSIC INC. TIME: 1:57 3A5 RTIST: THE SIDEWALK SOUNDS WRITERS: MIKE CURB, LAWRENCE BROWN PUBLISH - PRODUCER: MIKE CURB WITH HARLEY HATCHER SPECIAL THANKS: JIM NICHOLSON TOWER 419, 1968 ER: DONNA DIJON MUSIC PUBLICATIONS (BMI) TIME: 1:53 PRODUCERS: MIKE CURB AND LAWRENCE BROWN SIDEWALK DT 5911, 1967 The biggest film ever released by American as a producer and as an engineer of this soundtrack; International Pictures was Wild In The Streets (1968); Jim Hatcher has remained with Curb’s companies since then. “HELLCATS THEME” (FROM THE MOTION PICTURE HELLCATS ) ARTIST: THE Nicholson, president of the company, asked Curb to pro - Max Frost was the name of the lead character in the 3A5RROA WS WRITER: HEMRIC, STYNER PUBLISHER: MIKE CURB MUSIC (BMI) TIME: 2:18 duce the soundtrack. Barry Mann and Cynthia Weil film; The song “Nothing Can Change The Shape Of PRODUCER: MIKE CURB TOWER 5124 ,1967 wrote the songs and Curb produced them. Things To Come” reached number 22 on the Billboard Curb signed Harley Hatcher, just out of the Armed Hot 100 in the fall of 1968. 3“5THEB ME FROM THE HARD RIDE/SWING LOW, SWEET CHARIOT ” Forces, to a songwriting contract, then worked with him ARTIST: SOUNDS OF HARLEY/BILL MEDLEY WRITER: HARLEY HATCHER PUBLISHER: HOME GROWN MUSIC, INC.
    [Show full text]
  • Trade Mark Appeals to the Appointed Person Decision (O/369/13)
    O-369-13 TRADE MARKS ACT 1994 IN THE MATTER OF: OPPOSITION No. 93508 IN THE NAME OF ERIC VICTOR BURDON TO TRADE MARK APPLICATION No. 2355587 IN THE NAME OF JOHN STEEL ___________________ DECISION ___________________ Introduction 1. This is an appeal from a decision of the Registrar of Trade Marks relating to the question whether one of the original members of a disbanded musical group is entitled to register the name of the group as his trade mark despite objection from another of the original members of the group. The decision under appeal was issued by Mr. George Salthouse on behalf of the Registrar under reference BL O-311-08 on 18 November 2008. I understand that there have in the past been extended negotiations with a view to settling the dispute, but that the parties were in the end unable to reach a compromise. -1- GH\ ANIMALS DECISION 4.9.13.docx O-369-13 The Animals 2. In 1963 five musical performers began working together as members of a group called THE ANIMALS. They were: Eric Burdon (vocalist), Alan Price (keyboard), Hilton Valentine (guitar), John Steel (drums) and Chas Chandler (bass). Alan Price left the group in 1965. He was replaced by Mick Gallaher, who was himself quite quickly replaced by Dave Rowberry. John Steel left the group in March 1966. He was replaced by Barry Jenkins. The members of the group at the time when it broke up in September 1966 were: Eric Burdon, Hilton Valentine, Chas Chandler, Dave Rowberry and Barry Jenkins. 3. The original members of THE ANIMALS (Burdon, Price, Valentine, Steel and Chandler) reunited to play two sell-out shows for a charity fund-raiser at Newcastle City Hall in December 1968.
    [Show full text]