DOCSLIB.ORG

The Pirates and Pop Music Radio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Pirates and Pop Music Radio SELLING THE SIXTIES Was pirate radio in the sixties a non-stop psychedelic party – an offshore discothèque that never closed? Or was there more to it than hip radicalism and floating jukeboxes? From the mavericks in the Kings Road and the clubs ofSohotothemultinationaladvertisers andbigbusiness boardrooms Selling the Sixties examines the boom of pirate broadcasting in Britain. Using two contrasting models of unauthorized broadcasting, Radios Caroline and London, Robert Chapman situates offshore radio in its social and political context. In doing so, he challenges many of the myths which have grown up around the phenomenon. The pirates’ own story is framed within an examination of commercial precedents in Europe and America, the BBC’s initial reluctance to embrace pop culture, and the Corporation’s eventual assimilation of pirate programming into its own pop service, Radio One. Selling the Sixties utilizes previously unseen evidence from the pirates’ own archives, revealing interviews with those directly involved, and rare audio material from the period. This fascinating look at the relationship between unauthorized broadcasting and the growth of pop culture will appeal not only to students of communications, mass media, and cultural studies but to all those with an enthusiasm for radio history, pop, and the sixties. Robert Chapman’s broadcasting experience includes BBC local radio in Bristol and Northampton. He has also contributed archive material to Radios One and Four. He is currently Lecturer and Researcher in the Department of Performing Arts and Media Studies at Salford College of Technology. Selling the Sixties THE PIRATES AND POP MUSIC RADIO ROBERT CHAPMAN London and New York First published 1992 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 © 1992 Robert Chapman Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2001. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Chapman, Robert Selling the sixties: The pirates and pop music radio. I. Title 306.4 Library of Congress Cataloging in Publication Data Also available. ISBN 0–415–07817–2 (Print Edition) ISBN 0–415–07970–5 (pbk) ISBN 0-203-18217-0 Master e-book ISBN ISBN 0-203-18220-0 (Glassbook Format) For Caroline Contents Acknowledgements page ix 1 Selling the ether 1 2 Action and reaction: Piracy and the pursuit of prestige 32 3 Method actors versus multinationals 60 4 Other pirates: Other possibilities 132 5 The politics of piracy 168 6 If you want to sell in England 198 7 British Broadcasting Incorporation 226 Notes 279 Index 287 vii Acknowledgements As Selling the Sixties beganlife in January 1987 as a Master’sdegreethesis itseemsappropriatefirstlytoexpress gratitudetoGraham Murdock,atthat time Research Fellow at the University of Leicester’s Centre for Mass Communications Research, for acting as my tutor, for introducing me to much usefulresearchmaterial,temperingalittle(just alittle)myobsessive hostility towards theexistingliteratureon pirate radio,andhelpingfashion a readable thesis out of a typically unwieldy first draft. Simon Frith, as external assessor, offered both empathy and constructive criticism, and commissioned theabridged earlier draftof Chapter 3,which firstappeared in Popular Music (vol. 9, no. 2) in April 1990. Claire L’Enfant set into motion the initial publishing interest while at Unwin Hyman. Sarah Dann brought the project to fruition with HarperCollins and contributed much appreciated editing to early drafts. Dr Richard Barbrook of the Centre for Communication and Information Studies at the Polytechnic of Central London, also made a detailed analysis of early drafts and a valuable contribution to the book’s overall structure and emphasis. I wish to thank all those who consented to be interviewed, several of whom had never spoken publicly on the subject of pirate radio before. Fewer still had ever previously had their comments framed in such an analytical context. Interviews werecarried outwith thefollowing between February 1987 and November 1990: In alphabetical order: Mike Ahern (disc jockey, Radio Caroline, BBC Radio One); Ted Allbeury (Managing Director, Radio 390, Radio 355); David Allan (disc jockey, Radio 390, Radio 355, BBC Radio Two); Andy Archer (disc jockey, Radio City, Radio Caroline, BBC Radio One); Tim Blackmore (production assistant, BBC Light Programme; producer, BBC Radio One); Edward Cole (disc jockey, Radio 390); Tim Davis (music publisher); Simon Dee (disc jockey, Radio Caroline, BBC Light Programme and Radio One); Tom Edwards (disc jockey, Radio City, ix SELLING THE SIXTIES Radio Caroline, BBC Radio One and Two); Tony Hall (disc jockey, Radio Luxembourg and BBC Light Programme; Head of Artists and Repertoire (A & R), Decca Records); Tom Lodge (disc jockey, Radio Caroline, BBC Radio One); Steve Merike (disc jockey, Radio Scotland, Radio Caroline, BBC Radio One); Richard Palmer (disc jockey, Radio Essex, BBMS); Michael Parkin (Advertising Manager, Radio Caroline); John Peel (disc jockey, Radio London, BBC Radio One); John Ridley (disc jockey and Sales Director, Radio Atlanta; Advertising Manager, Radio 390); Keith Skues (disc jockey, British Forces Broadcasting Service (BFBS), Radio Caroline, Radio London, BBC Radio One); David Symonds (disc jockey, BBC Light Programme and Radio One); Johnnie Walker (disc jockey, Radio England, Radio Caroline, BBC Radio One); John Walters (producer, BBC Radio One); Teddy Warrick (producer and programme organizer, BBC Light Programme and Radio One); Alan West (disc jockey, Radio London, Radio 355, Radio 390, Radio 270). Given the subject matter of this study, clandestine and unauthorized broadcasting, it is not surprising that occasionally interviewees requested anonymity. Where necessary comments offered ‘off the record’ have been incorporated unattributed into the text. Similarly it is a reflection on the continued sensitivity of much of this book’s content that four interviewees – a disc jockey, a producer, arecord plugger,and an employee of one pirate station’s administrative staff – requested complete anonymity. This request has been honoured. Interviews ranged in length from 30 to 45 minute ‘one offs’ to in-depth discussions lasting several hours, and follow-ups spanning several months. I found the majority of interviewees only too glad to be of further assistance when needed and would like formally to thank everyone contacted for their time and patience. Additional thanks go to Tim Blackmore, Edward Cole, Kevin Howlett, Michael Parkin, and Teddy Warrick for donating press cuttings, an abundance of memoranda, and various other valuable documentation relevant to the period. I am particularlygrateful to thosewho took thetimetogo beyond the well-worn anecdotes and into more considered evaluation of the offshore radio phenomenon. x ACKNOWLEDGEMENTS There are inevitably themes which remain underdeveloped here, in particular the technological argument in its broadest sense, and also the BBC’s relationship with the various factions of the entertainments industry. Even the conclusion of this analysis was to some extent dictated by quantitive considerations brought about by the sheer weight of material amassed in dealing with the 1960s. I had originally rather naïvely envisaged being able to cover offshore radio’s second generation of activity off the Dutch coast (1970–4), the origins of Independent Local Radio in Britain, and even a case-study of Radio Caroline; this was celebrating 25 years of uneasy existence while I was writing this book, aware of its probable demise by the time of publication. These themes will be covered in a second volume. Richard Palmer (Radio Caroline), Andy Archer (Radio Northsea International, Radio Caroline), Alan West (Radio NorthseaInternational),andSteveMerike (Radio NorthseaInternational), all provided valuable information in addition to that acknowledged in the maintext,basedontheircontinuedinvolvementwithoffshoreradioduring the 1970s, as did Norman Barrington (Radio Caroline), Dave Rogers (Radio Northsea International, Radio Atlantis), and Ian Anderson (Radio Geronimo, Radio Caroline, Radio Northsea International). Interviews with several others on the above list also went beyond the scope and chronology of the original study and provided much usable material for further analysis. The central question of what the pirate stations actually sounded like was addressed by recourse to my own archive of pop radio broadcasts – comprising some 1,000 recordings, of over 10,000 hours of material, ranging in length from 5 minute extracts to entire 12 to 14 hour segments of uninterrupted station output. This, I learned as I researched, is far more extensive than anything either the National Sound Archive or the BBC possesses in the area of pop music and pop culture, and proved invaluable in providing much of the factual detail of this analysis. A people’s history sub-text runs constantly though unobtrusively throughout Selling the Sixties, and I would suggest that these hitherto unexamined primary sources are of immense significance. Existing literature
Load more

Recommended publications
  • BBC SOUND BROADCASTING Its Engineering Development
    Published by the British Broadcorrmn~Corporarion. 35 Marylebone High Sneer, London, W.1, and printed in England by Warerlow & Sons Limited, Dunsruble and London (No. 4894). BBC SOUND BROADCASTING Its Engineering Development PUBLISHED TO MARK THE 4oTH ANNIVERSARY OF THE BBC AUGUST 1962 THE BRITISH BROADCASTING CORPORATION SOUND RECORDING The Introduction of Magnetic Tape Recordiq Mobile Recording Eqcupment Fine-groove Discs Recording Statistics Reclaiming Used Magnetic Tape LOCAL BROADCASTING. STEREOPHONIC BROADCASTING EXTERNAL BROADCASTING TRANSMITTING STATIONS Early Experimental Transmissions The BBC Empire Service Aerial Development Expansion of the Daventry Station New Transmitters War-time Expansion World-wide Audiences The Need for External Broadcasting after the War Shortage of Short-wave Channels Post-war Aerial Improvements The Development of Short-wave Relay Stations Jamming Wavelmrh Plans and Frwencv Allocations ~ediumrwaveRelav ~tatik- Improvements in ~;ansmittingEquipment Propagation Conditions PROGRAMME AND STUDIO DEVELOPMENTS Pre-war Development War-time Expansion Programme Distribution Post-war Concentration Bush House Sw'tching and Control Room C0ntimn.t~Working Bush House Studios Recording and Reproducing Facilities Stag Economy Sound Transcription Service THE MONITORING SERVICE INTERNATIONAL CO-OPERATION CO-OPERATION IN THE BRITISH COMMONWEALTH ENGINEERING RECRUITMENT AND TRAINING ELECTRICAL INTERFERENCE WAVEBANDS AND FREQUENCIES FOR SOUND BROADCASTING MAPS TRANSMITTING STATIONS AND STUDIOS: STATISTICS VHF SOUND RELAY STATIONS TRANSMITTING STATIONS : LISTS IMPORTANT DATES BBC ENGINEERING DIVISION MONOGRAPHS inside back cover THE BEGINNING OF BROADCASTING IN THE UNITED KINGDOM (UP TO 1939) Although nightly experimental transmissions from Chelmsford were carried out by W. T. Ditcham, of Marconi's Wireless Telegraph Company, as early as 1919, perhaps 15 June 1920 may be looked upon as the real beginning of British broadcasting.
    [Show full text]
  • Antiquarian & Modern
    Blackwell’s Rare Books Blackwell’S rare books ANTIQUARIAN & MODERN Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/ rarebooks Our premises are in the main Blackwell’s bookstore at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookstore is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell’s online bookshop www.blackwell.co.uk Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor’s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale).
    [Show full text]
  • Effort to Reduce Carbon Footprint | Press Releases
    PRESS RELEASE Wm. Wrigley Jr. Company Launches Effort to Reduce Carbon Footprint Enabled by Infosys Technologies World’s Largest Manufacturer of Chewing Gum Seeks to Transform Logistics Operations in Western Europe London, UK - November 20, 2008: In a move to extend its social responsibility leadership, the world’s leading manufacturer of chewing gum Wm. Wrigley Jr. Company is reducing the carbon footprint it creates in its logistics operations, Infosys Technologies announced today. Infosys is enabling Wrigley to transform its logistics operations by providing solutions and services in a pilot to determine how much carbon emissions are produced and subsequently may be reduced across the company’s truck-based shipping operations in Western Europe. “Managing our impact on the environment is an integral part of Wrigley corporate philosophy,” said Ian Robertson, head of supply chain sustainability at Wm. Wrigley Jr. Company. “We’re committed to making improvements across all operations but need an integrated enterprise system to measure progress. Infosys provided that solution and services to empower that process.” Early in the pilot, Infosys identified logistics operations in which Wrigley may reduce its carbon footprint by as much as 20 percent, and provided process consulting around operational adoption. The analysis will continue to evaluate Wrigley’s complex distribution network across six countries in Western Europe – spanning more than 44 million kilometers a year in shipments between suppliers, the company and its own customers and includes its distribution centers – for CO2 emissions emitted according to the UK’s Defra (Department for Environment, Food and Rural Affairs) standards. Infosys is using its patent-pending Logistics Optimization solution and carbon management tools to deliver the carbon footprint analysis to Wrigley as a managed information service.
    [Show full text]
  • Market Achievements History Product
    Wrigley ENG 15.03.2007 12:56 Page 170 Market a confectionery product.These products deliver a Since its founding in 1891,Wrigley has established range of benefits including dental protection itself as a leader in the confectionery industry. It is (Orbit), fresh breath (Winterfresh), enhancing best known for chewing gum and is the world’s memory and improving concentration (Airwaves), largest manufacturer of these products, some of relief of stress, helping in smoking cessation and which are among the best known and loved brands snack avoidance. in the world.Today,Wrigley's brands are woven into Wrigley is one of the pioneers in developing the fabric of everyday life around the world and are the dental benefits of chewing sugarfree gum - sold in over 150 countries.The original brands chewing a sugar-free gum like Orbit reduces the Wrigley’s Spearmint, Doublemint and Juicy Fruit incidence of tooth decay by 40%. Its work and have been joined by the hugely successful brands support in the area of oral healthcare has resulted Orbit,Winterfresh, Airwaves and Hubba Bubba. in dental professionals recommending sugarfree gum Chewing gum consumption in Croatia exceeds to their patients. the amount of 34 million USD and holds 34.8% of the total confectionery market (Nielsen, MAT chewing AM06). In comparison with the past year, the gum companies in the market has witnessed a 3.2% growth, and today, United States, but the industry Wrigley's Orbit is in Croatia a synonym for top was relatively undeveloped. Mr.Wrigley decided that quality chewing gum, holding the leading brand chewing gum was the product with the potential he position in the confectionery category (chocolates had been looking for, so he began marketing it excluded).This product holds 57.4% of the total under his own name.
    [Show full text]
  • Haiku in Britain
    Haiku in Britain Theory, Practice, Context by Martin Lucas Thesis submitted for the degree of PhD at the University of Wales, Cardiff April2001 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed F!.\Q.~~ ~.~s.: (candidate) Date·············..·..9.··..·····hf0.\··..···..~~·J······..···.. STATEMENT1 This thesis is the result of my own investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed ~~~r.- ~ ..~.~ (candidate) Date 5 ~.o..~ k.~..L .. STATEMENT2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. signed ~9.-:.r.hD. ~ ..~ (candidate) Date 3 ~.:,;~ U..9.1 . II Acknowledgements and Dedications Thanks are due to Dr John Freeman, my supervisor, for his critical insights and his constant encouragement, and to Mr Norman Schwenk, Creative Writing convenor, for seeing the value in the project from the beginning. I also thank all the members of my family, in particular my brother David, for his moral support, and my brother Peter, for his example. Nori, my wife, also showed great patience with the project, and acted as Japanese consultant'. Although my meetings with my fellow Creative Writing PhD students have been infrequent, I have deep appreciation for their companionship on the journey. The influence and inspiration of other haiku poets, in Britain and, indeed, around the world, has been an immense asset. They have loaned me much essential reading material, walked with me on desolate mountain-tops, and in sharing their enthusiasm they have brought joy to my life.
    [Show full text]
  • ARTS EVENTS the Talbot Theatre Whitchurch Leisure Centre Heath Road SY13 2BY 01948 660660
    ARTS EVENTS The Talbot Theatre Whitchurch Leisure Centre Heath Road SY13 2BY 01948 660660 TUESDAY 26TH APRIL 7.30PM ‘THE DRESSMAKER’ (12A) 1hr 58mins A stylish drama based on Rosalie Ham’s best-selling novel. The Dressmaker is the story of femme fatale Tilly Dunnage (Kate Winslet) who returns to her small hometown in the country to right the wrongs of the past. TUESDAY 3RD MAY 7.30PM ‘DAD’S ARMY’ (U) 1hr 40 mins A cinema remake of the classic sitcom with a stellar cast including Michael Gambon, Toby Jones, Bill Nighy, Catherine Zeta Jones and Tom Courtenay. The Walmington-on-Sea Home Guard platoon deal with a visiting female journalist and a German spy at the end of World War II. FRIDAY 20TH MAY 7.30PM ‘A WALK IN THE WOODS’ (15) 1hr 45 mins This biographical adventure-comedy will be shown in conjunction with Whitchurch Walking Festival. After spending two decades in England, Bill Byson returns to the US where he decides that the best way to connect with his homeland is to hike the Appalachian Trail with one of his oldest friends. SATURDAY 21ST MAY 8PM NORTH SHROPSHIRE FOLK PRESENTS ‘SAM CARTER’ Sam Carter is a singer/songwriter in constant demand for his captivating live performances. A Horizon Award-winner for Best Newcomer at the 2010 BBC Radio 2 Folk Awards, he has toured with Bellowhead and performs with Jim Moray in their new contemporary electric folk band False Lights. ‘The finest English-style finger-picking guitarist of his generation’ - Jon Boden. Tickets £12 (£10) TUESDAY 24TH MAY 7.30PM ‘SPOTLIGHT’ (15) 2 hrs 8mins Winner of Best Picture at the Oscars and Best Original Screenplay at both the Oscars and BAFTAs.
    [Show full text]
  • Dougie Maclean the Wilson Family Granny’S Attic Mrsackroyd Rheingans Sisters Moore, Moss & Rutter Anthony John Clarke
    Cleckheaton, West Yorkshire Dougie MacLean The Wilson Family Granny’s Attic MrsAckroyd Rheingans Sisters Moore, Moss & Rutter Anthony John Clarke Concerts, Singarounds, Ceilidh, Parade, Morris Sides, Sunday Fun Day, Street Entertainment and lots lots more … A warm and friendly Festival in the heart of West Yorkshire Come along and join in the fun Supported by Online Tickets from Dougie MacLean (Sat 7th July 2018) “Dougie MacLean is Scotland's pre-eminent singer-songwriter and a national musical treasure” (SingOut USA) who has developed a unique blend of lyrical, 'roots based' songwriting and instrumental composition. He is internationally renowned for his song 'Caledonia', music for 'Last of the Mohicans' and inspired performances. His songs have been covered by Paolo Nutini, Amy MacDonald, Ronan Keating, Mary Black, Frankie Miller, Cara Dillon, Kathy Mattea and many other top performers. He has received two prestigious Tartan Clef Awards, a place in the Scottish Music Hall of Fame, a Lifetime Achievement Award from BBC Radio 2 Folk Awards and an OBE! The Wilson Family (Saturday 7th July 2018) The Wilson Family were very honoured to be the latest recipients to have been awarded the EFDSS Gold Badge Award in October 2017. The glorious, powerful, vocal harmony of The Wilson Family of Billingham, Teesside has rung out in folk clubs and festivals continuously for the last 40+ years. The Brothers sing traditional and traditionally-orientated songs, with deep understanding, joy and good humour. It will be good to have them back in Cleckheaton Granny’s Attic (Sat 7th July 2018) Cohen Braithwaite-Kilcoyne (Melodeon, Concertina, Vocals), George Sansome (Guitar, Vocals) and Lewis Wood (Fiddle, Vocals) – are a folk trio who play the tradition with verve, energy and their own inimitable style.
    [Show full text]
  • Kosher Nosh Guide Summer 2020
    k Kosher Nosh Guide Summer 2020 For the latest information check www.isitkosher.uk CONTENTS 5 USING THE PRODUCT LISTINGS 5 EXPLANATION OF KASHRUT SYMBOLS 5 PROBLEMATIC E NUMBERS 6 BISCUITS 6 BREAD 7 CHOCOLATE & SWEET SPREADS 7 CONFECTIONERY 18 CRACKERS, RICE & CORN CAKES 18 CRISPS & SNACKS 20 DESSERTS 21 ENERGY & PROTEIN SNACKS 22 ENERGY DRINKS 23 FRUIT SNACKS 24 HOT CHOCOLATE & MALTED DRINKS 24 ICE CREAM CONES & WAFERS 25 ICE CREAMS, LOLLIES & SORBET 29 MILK SHAKES & MIXES 30 NUTS & SEEDS 31 PEANUT BUTTER & MARMITE 31 POPCORN 31 SNACK BARS 34 SOFT DRINKS 42 SUGAR FREE CONFECTIONERY 43 SYRUPS & TOPPINGS 43 YOGHURT DRINKS 44 YOGHURTS & DAIRY DESSERTS The information in this guide is only applicable to products made for the UK market. All details are correct at the time of going to press but are subject to change. For the latest information check www.isitkosher.uk. Sign up for email alerts and updates on www.kosher.org.uk or join Facebook KLBD Kosher Direct. No assumptions should be made about the kosher status of products not listed, even if others in the range are approved or certified. It is preferable, whenever possible, to buy products made under Rabbinical supervision. WARNING: The designation ‘Parev’ does not guarantee that a product is suitable for those with dairy or lactose intolerance. WARNING: The ‘Nut Free’ symbol is displayed next to a product based on information from manufacturers. The KLBD takes no responsibility for this designation. You are advised to check the allergen information on each product. k GUESS WHAT'S IN YOUR FOOD k USING THE PRODUCT LISTINGS Hi Noshers! PRODUCTS WHICH ARE KLBD CERTIFIED Even in these difficult times, and perhaps now more than ever, Like many kashrut authorities around the world, the KLBD uses the American we need our Nosh! kosher logo system.
    [Show full text]
  • Crafts of World Literature Faculty of English, Oxford 28-30 September 2012
    CRAFTS OF WORLD LITERATURE FACULTY OF ENGLISH, OXFORD 28-30 SEPTEMBER 2012 ABSTRACTS FOR PANEL SESSIONS 1. Short Story Shital Pravinchandra (Yale): ‘World Literature and the Short Story’ This paper engages with Moretti’s hypotheses about world literature in order to argue that the excessive attention he bestows upon the novel effectively reproduces the ‘one but unequal’ status of the world literary system. My claim is that an adequate theorization of world literature requires the literary critic to understand that unless we fail to take notice of the problem of literary genre the problem of world literature will only be further compounded. My paper turns to an entirely different genre — the short story — on the grounds that this is a necessary shift in focus that both takes into account the actual literary production of the global south and showcases the urgent need for literary critical attention to genre, both in postcolonial studies and in studies of world literature. Although the short story largely remains, to this day, as F. Odun Balogun puts it when discussing the case of the African short story, “a literature in search of critics” my paper looks at concrete instances of short story criticism and explores the shortcomings of the predominant models for understanding world literature, which rely heavily on the novel. The short story, I suggest, might offer a different yardstick with which to approach world literary production. Shital Pravinchandra is Assistant Professor of English at Yale University. She is currently working on a monograph entitled Same Difference: Literature and the Postcolony in the Age of Biotechnology, which explores the transformations that biotechnology has wrought on postcolonial studies.
    [Show full text]
  • Bpsr N Nte Cei B Nary
    5689 FRMS cover:52183 FRMS cover 142 18/02/2013 15:00 Page 1 Spring 2013 No. 158 £2.00 Bulletin RPS bicentenary 5689 FRMS cover:52183 FRMS cover 142 18/02/2013 15:00 Page 2 5689 FRMS pages:Layout 1 20/02/2013 17:11 Page 3 FRMS BULLETIN Spring 2013 No. 158 CONTENTS News and Comment Features Editorial 3 Cover story: RPS Bicentenary 14 Situation becoming vacant 4 A tale of two RPS Gold Medal recipients 21 Vice-President appointment 4 FRMS Presenters Panel 22 AGM report 5 Changing habits 25 A view from Yorkshire – Jim Bostwick 13 International Sibelius Festival 27 Chairman’s column 25 Anniversaries for 2014 28 Neil Heayes remembered 26 Roger’s notes, jottings and ramblings 29 Regional Groups Officers and Committee 30 Central Region Music Day 9 YRG Autumn Day 10 Index of Advertisers Societies Hyperion Records 2 News from Sheffield, Bath, Torbay, Horsham, 16 Arts in Residence 12 Street and Glastonbury, and West Wickham Amelia Marriette 26 Nimbus Records 31 CD Reviews Presto Classical Back cover Hyperion Dohnányi Solo Piano Music 20 Harmonia Mundi Britten and Finzi 20 Dutton Epoch British Music for Viola and orch. 20 For more information about the FRMS please go to www.thefrms.co.uk The editor acknowledges the assistance of Sue Parker (Barnsley Forthcoming Events and Huddersfield RMSs) in the production of this magazine. Scarborough Music Weekend, March 22nd - 25th (page 13) Scottish Group Spring Music Day, April 27th (page 13) th th Daventry Music Weekend, April 26 - 28 (pages 4 & 8) Front cover: 1870 Philharmonic Society poster, courtesy of th West Region Music Day, Bournemouth, June 4 RPS Archive/British Library th FRMS AGM, Hinckley, November 9 EDITORIAL Paul Astell NOTHER AGM HAS PASSED, as has another discussion about falling membership and A the inability to attract new members.
    [Show full text]
  • British Radio Drama and the Avant-Garde in the 1950S
    British radio drama and the avant-garde in the 1950s Hugh Chignell 1 Bournemouth University, UK Correspondence: Professor Hugh Chignell, Faculty of Media and Communication, Bournemouth University, Poole, Dorset, BH12 5BB, UK. +44 (0)1202 961393 Email: [email protected] 1 British radio drama and the avant-garde in the 1950s Abstract The BBC in the 1950s was a conservative and cautious institution. British theatre was at the same time largely commercial and offered a glamorous distraction from wider social and political realities. During the decade, however, new avant-garde approaches to drama emerged, both on the stage and on radio. The avant-garde was particularly vibrant in Paris where Samuel Beckett was beginning to challenge theatrical orthodoxies. Initially, managers and producers in BBC radio rejected a radio version of Beckett’s, Waiting for Godot and other experimental work was viewed with distaste but eventually Beckett was accepted and commissioned to write All That Fall (1957), a masterpiece of radio drama. Other Beckett broadcasts followed, including more writing for radio, extracts from his novels and radio versions of his stage plays as well as plays by the experimental radio dramatist, Giles Cooper. This article examines the different change agents which enabled an initially reluctant BBC to convert enthusiastically to the avant-garde. A networked group of younger producers, men and women, played a vital role in the acceptance of Beckett as did the striking pragmatism of senior radio managers. A willingness to accept the transnational cultural flow from Paris to London was also an important factor. The attempt to reinvent radio drama using ‘radiophonic’ sound effects (pioneered in Paris) was another factor for change and this was encouraged by growing competition from television drama on the BBC and ITV.
    [Show full text]
  • Book Proposal 3
    Rock and Roll has Tender Moments too... ! Photographs by Chalkie Davies 1973-1988 ! For as long as I can remember people have suggested that I write a book, citing both my exploits in Rock and Roll from 1973-1988 and my story telling abilities. After all, with my position as staff photographer on the NME and later The Face and Arena, I collected pop stars like others collected stamps, I was not happy until I had photographed everyone who interested me. However, given that the access I had to my friends and clients was often unlimited and 24/7 I did not feel it was fair to them that I should write it all down. I refused all offers. Then in 2010 I was approached by the National Museum of Wales, they wanted to put on a retrospective of my work, this gave me a special opportunity. In 1988 I gave up Rock and Roll, I no longer enjoyed the music and, quite simply, too many of my friends had died, I feared I might be next. So I put all of my negatives into storage at a friends Studio and decided that maybe 25 years later the images you see here might be of some cultural significance, that they might be seen as more than just pictures of Rock Stars, Pop Bands and Punks. That they even might be worthy of a Museum. So when the Museum approached me three years ago with the idea of a large six month Retrospective in 2015 I agreed, and thought of doing the usual thing and making a Catalogue.
    [Show full text]