O Bserver Tuesday, October 10, 2000
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Gigs of My Steaming-Hot Member of Loving His Music, Mention in Your Letter
CATFISH & THE BOTTLEMEN Van McCann: “i’ve written 14 MARCH14 2015 20 new songs” “i’m just about BJORK BACK FROM clinging on to THE BRINK the wreckage” ENTER SHIKARI “ukiP are tAKING Pete US BACKWARDs” LAURA Doherty MARLING THE VERDICT ON HER NEW ALBUM OUT OF REHAB, INTO THE FUTURE ►THE ONLY INTERVIEW CLIVE BARKER CLIVE + Palma Violets Jungle Florence + The Machine Joe Strummer The Jesus And Mary Chain “It takes a man with real heart make to beauty out of the stuff that makes us weep” BLACK YELLOW MAGENTA CYAN 93NME15011142.pgs 09.03.2015 11:27 EmagineTablet Page HAMILTON POOL Home to spring-fed pools and lush green spaces, the Live Music Capital of the World® can give your next performance a truly spectacular setting. Book now at ba.com or through the British Airways app. The British Airways app is free to download for iPhone, Android and Windows phones. Live. Music. AustinTexas.org BLACK YELLOW MAGENTA CYAN 93NME15010146.pgs 27.02.2015 14:37 BAND LIST NEW MUSICAL EXPRESS | 14 MARCH 2015 Action Bronson 6 Kid Kapichi 25 Alabama Shakes 13 Laura Marling 42 The Amorphous Left & Right 23 REGULARS Androgynous 43 The Libertines 12 FEATURES Antony And The Lieutenant 44 Johnsons 12 Lightning Bolt 44 4 SOUNDING OFF Arcade Fire 13 Loaded 24 Bad Guys 23 Lonelady 45 6 ON REPEAT 26 Peter Doherty Bully 23 M83 6 Barli 23 The Maccabees 52 19 ANATOMY From his Thai rehab centre, Bilo talks Baxter Dury 15 Maid Of Ace 24 to Libs biographer Anthony Thornton Beach Baby 23 Major Lazer 6 OF AN ALBUM about Amy Winehouse, sobriety and Björk 36 Modest Mouse 45 Elastica -
What Happened to the Female Stars of Britpop?
Home News Sport Weather Shop Earth Travel Search Music Menu My Music What happened to the female stars of Britpop? By Fraser McAlpine Monday 13th November 2017 The indie bands that came to dominate Britpop emerged from a healthy alternative culture that was politically involved, progressive in outlook and inclusive of female input, from the alien techno of Björk to the literate blues of PJ Harvey. So it's a shame that now, 25 years after the formation of Elastica, that moment in popular culture is so often reduced to a boorish bunfight between blokes from the north (Oasis) and blokes from the south (Blur), or a testosterone-driven clash of classes. It was all of those things and several more complicated stories too, and nowhere near as male-dominated as it appears in the retelling. Here are seven bands whose contribution should not be overlooked. 1. Elastica [LISTEN] Justine Frischmann: Why I dropped music for art Elastica formed in mid-1992, when Justine Frischmann and Justin Welch decided they needed a group to reflect the interests of people like them. They made one album of sharp post-punk with lyrics confidently tackling erectile disfunction, scenesters and making out in cars, and it sold faster than any debut album since Definitely Maybe (a record it held for over 10 years). There followed a messy period, with band members leaving and arriving and a scrappy second album The Menace in 2000, after which the band split up. Guitarist Donna Matthews continues to make music under her own name, and works as a Christian missionary to the homeless. -
Family Mourns Student's Death
C A LIFORNI A S T A T E U NIVER S IT Y , F U LLERTON INSIDE 18 n SPORTS: Fall sports are preparing for upcoming season Swimming with the 15 n PERSPECTIVES: Internet dating — the dolphins enhances wave of the future personal growth —see News page 13 VOLU M E 71, I SSUE 1 TUESDAY AUGUST 29, 2000 Family mourns student’s death nDeath: Quincy him afterward. A harbor patrol fireboat was Brown’s body was requested to aid the lifeguards in approaching Brown. found in Newport As lifeguards continued the search for Brown, one body-boarder said he Beach waters saw a white object in the water, said BY RAUL MORA Newport Beach Fire Department Daily Titan Managing Editor Spokesperson John Blauer. Marine Safety Lt. Mitch White later spotted Brown under 15 feet Before his death Quincy Brown of water. left a note. Brown’s body was later recov- The 20-year-old high ered at 8:33 a.m. — three school track-and-field hours after his last sight- athlete said he wanted a ing. change in lifestyle. “We don’t know Brown’s uncle, who what really happened,” found the note, became Brown’s grandmother, worried. According to Luree Tobin, said. Fullerton police officials, A week after the inci- Brown had mentioned to dent friends and relatives his relatives that he had met in the Community been dealing with a bout United Presbyterian of depression and had not Church in Los Angeles. eaten in days. Quincy Brown, who was According to police, Brown raised by Tobin after his Brown, a Fullerton resi- parents died when he dent, had said that he was MAYRA BELTRAN/Daily Titan was 16-months-old, was going to spend some time at the deeply religious. -
British Indie Music in the 1990S: Public Spheres, Media and Exclusion
British Indie Music In The 1990s: Public Spheres, Media and Exclusion Rachel White . Goldsmiths College Submitted for the degree of PhD Abstract Developing existing theories of public and counterpublic spheres, this thesis moves beyond theoretical ideals to formulate a working model of the cultural counterpublic sphere in which British indie music is understood, legitimated and ascribed value. This 'indie public' is then interrogated with the central aim of understanding the continued discrepancy in levels of male and female participation in British indie music at every level during the 1990s. Given the centrality of the media to contemporary, geographically dispersed publics it is through a discursive analysis of the British music press, particularly the NME and the Melody Maker, that the masculine constitution of the indie public is revealed. The music press is viewed as not just representing or reflecting the indie scene, but as central to its construction as a genre and the discursive production of privileged subject positions therein. The empirical research analyses how discourses of gender, and to a lesser extent race, class and sexuality, inform the key themes and concepts through which the music press both constructs and evaluates artists and audiences in the indie public. The bulk of the analysis focuses the extended coverage of four prominent 90s' indie bands; Suede, Elastica, Oasis, and Echobelly. The findings are presented thematically in four main areas; the construction of authenticity and 'the artist', the construction of stars and the bases of their appeal, the importance of British national identity during the 'Britpop' era of the mid-1990s and the production of fans and audiences in the indie public.