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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth -
Translation Rights List Non-Fiction
Translation Rights List Including Non-Fiction November 2017 Contents Rights Department p.3 Little, Brown Imprints p.4 General p.5 Culture p.11 Business & Management p.16 History p.20 Memoirs & Biography p.29 Health, Self-Help & Popular Psychology p.41 Parenting p.52 Food & Cookery p.57 Overcoming Series p.61 Rights Representatives p.63 Key Rights sold displayed in parentheses indicates that we do not control the rights An asterisk indicates a new title since previous Rights list Titles in italics were not published by Little, Brown Book Group. 2 Rights Department ANDY HINE Rights Director Brazil, Germany, Italy, Poland, Scandinavia, Latin America and the Baltic States [email protected] +44 (0) 20 3122 6545 KATE HIBBERT Rights Director USA, Spain, Portugal, Far East and the Netherlands [email protected] +44 (0) 20 3122 6619 SARAH BIRDSEY Rights Manager France, Turkey, Arab States, Israel, Greece, Bulgaria, Czech Republic, Slovak Republic, Hungary, Romania, Russia, Serbia and Macedonia [email protected] +44 (0) 20 3122 6598 JOE DOWLEY Rights Executive [email protected] +44 (0) 20 3122 6209 Little, Brown Book Group Follow us on Twitter: Carmelite House @LBBGRights 50 Victoria Embankment London EC4Y 0DZ UNITED KINGDOM 3 Little, Brown Imprints 4 General Highlights SUPERHUMAN THE GOOD IMMIGRANT USA 5 THE STORIES OF SLANG by Jonathon Green Language | Robinson | 320pp | October 2017| Korea: EYA | Japan: Slang is the language that shows us at our most human. This collection draws on both themes and the etymologies of words and phrases to tell slang's most entertaining stories Slang is language at its most human, focusing on sex, body parts and what they do, drink and drugs and wide-spectrum hedonism; it's also about hatreds - both intimate and national - about the insults that follow on, the sneers and the put-downs. -
Yourmanchester Reaching for the Stars Stargazing Live with Professor Brian Cox
The Magazine for Alumni and Friends June 2011 yourManchester Reaching for the stars Stargazing Live with Professor Brian Cox New President’s Vision Double Nobel Prize Boost for Jodrell Bank Coronation Street Stars Magazine The magazine for alumni and friends University news 4 New President’s vision 8 An age old problem 10 Election experts 12 Our students: simply the best 14 Coronation Street stars 16 Cancer: a wound that will not heal 19 Nobel Prize Double Nobel Prize 20 Professors Andre Geim and New breast cancer scanner 23 success Konstantin Novoselov p20 In the groove 24 Two of our physicists are recognised for their discovery of the first two-dimensional Love Manchester 26 substance: graphene – a new super-strong, super-thin material which has the potential Alumni Association events 29 to revolutionise a range of applications such as electronics and aircraft design. Alumni Association news 30 Primetime Physics 32 Jodrell Bank Discovery Centre 33 Your starter for ten... 34 Stargazing at From Hogarth to Hockney 36 Jodrell Bank Alumni in the spotlight 38 Professor Brian Cox presented Stargazing Live for a massive television Manchester Access Programme 40 audience from Jodrell Bank. He was joined by Professor Dame Nancy Professor Alan Gilbert 42 Rothwell and comedian Dara O’Briain. Medicine mission 46 Alumni benefits 48 Your Manchester is published by the Communications, Media and Public Relations Division in conjunction with the Division of Development and Alumni Relations, The University of Manchester. Simply the best For further information concerning any of the articles in Our students are excelling themselves this issue please telephone +44 (0) 161 306 3066 or email [email protected] and not just in their studies; Joseph The articles printed here, to the best of our knowledge, Akinnagbe (above) scooped the were correct at the time of going to press. -
WP Band II (Manchester/Liverpool)
MANCHESTER / LIVERPOOL II.1 ------------------------------------------------------- STUDIES PART 1 March 2004 -------------------------------------------------------------------------------------------------------------------------------- – Ein Initiativprojekt der Kulturstiftung des Bundes in Kooperation mit dem Projektbüro Philipp Oswalt, der Galerie für Zeitgenössische Kunst Leipzig, der Stiftung Bauhaus Dessau und der Zeitschrift archplus. Büro Philipp Oswalt, Eisenacher Str. 74, 10823 Berlin, T: +49 (0)30 81 82 19-11, F: +49 (0)30 81 82 19-12, [email protected], URL: www.shrinkingcities.com TABLE OF CONTENTS -------------------------------------------------------------------------------------------------------------- INTRODUCTION Philipp Misselwitz 6 STATISTICAL DATA: MANCHESTER / LIVERPOOL Ed Ferrari, Anke Hagemann, Peter Lee, Nora Müller and Jonathan Roberts M62 REGION 12 ABANDONMENT AS OPPORTUNITY Katherine Mumford and Anne Power 17 CHANGING HOUSING MARKETS AND URBAN REGENERATION: THE CASE OF THE M62 CORRIDOR Brendan Nevin, Peter Lee, Lisa Goodson, Alan Murie, Jenny Phillimore and Jonathan Roberts 22 CHANGING EMPLOYMENT GEOGRAPHY IN ENGLAND’S NORTH WEST Cecilia Wong, Mark Baker and Nick Gallent MANCHESTER 32 MANCHESTER CITY PROFILE Phil Misselwitz 35 TIMELINE: MANCHESTER 1750—2002 Alan Kidd 40 REGROWTH OF A SHRINKING CITY Ed Ferrari and Jonathan Roberts 52 MANCHESTER: A BRIEF ECONOMIC HISTORY Alan Kidd 65 MANCHESTER IN PROSPECT Alan Kidd 75 HYPOCRITICAL CITY: CYCLES OF URBAN EXCLUSION Rosemary Mellor 90 MANCHESTER ENGLAND -
2015/GUIDE It Began in Berlin
2015/GUIDE It began in Berlin. Bernauer Straße This is the living room VORWORT PREFACE .......................................... 05 in Mixmaster Moritz’s mother’s apartment where, ORTE VENUES .............................................. 09 in July 1983, he devised a form of dance music ZEITEN TIMES ............................................. 11 that became known to the world as Acid House. GÄSTE GUESTS 18+ 15 / Alec Empire, Dieter Gorny, Anne Haffmans, Gast: Heiko Maas 16 / André de Ridder, Matthew Herbert 17 / Andreas Dorau, Sven Regener 18 / Anika & T.Raumschmiere 19 / Balbina 20 / Bernard Sumner 21 / Bianca Casady & the C.i.A. 22 / Björn Beneditz, Roger Behrens, Tobias Jundt 23 / C.A.R 24 / Chikiss 25 / Cristobal and the Sea 26 / Chuckamuck 27 / Cummi Flu 28 / Daniel Miller 29 / Dave Haslam 30+ 31 / Die Nerven 32 / Disco Anti Napoleon 33 / Dr. Tom Fritz, Norbert Bisky 34 / Ebony Bones 35 / Evvol 36 / Falko Teichmann 37 / Fenster 38 / GABI 39 / Daniel Miller, Gillian Gilbert, Owen Pallett, Stephen Morris 40 / Girl Band 41 / Herbert 42 / Hinds 43 / Ho99o9 44 / Inga Copeland 45 / Isolation Berlin 46 / James Pants 47 / Juan MacLean 48 / Kane West 49 / Kero Kero Bonito 50 / Kiasmos 51 / Lapalux 52 / Levelz 53 / Mary Ocher + Your Government 54 / Matthew Herbert 55 / Messer 56 / MOURN 57 / Naytronix 58 / Michaela Meise, @ NeinQuarterly 59 / Neneh Cherry with RocketNumberNine 60 / Normal Echo 61 / Novella 62 / Only Real 63 / Owen Pallett & stargaze 64 / Pantha Du Prince feat. The Triad 65 / Rival Consoles 66 / Schnipo Schranke 67 / Sebastian Schipper 68 / Sky Walking 69 / Sookee 70 / Sophie Hunger & Gäste 71 / SPEX-Session 72 / Stephen Morris 73 / Tempers 74 / The Juan MacLean 75 / The Pre New 76 / Viv Albertine 77 / Vogue Dots 78 / Will Bankhead 79 / Wooden Wisdom & DJ Fitz 80 / Zentralheizung of Death des Todes 81 POP-KULTUR NACHWUCHS .................................... -
Closer from a Distance’: Auras of Factory Records in Design, Place, Film, And
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Leeds Beckett Repository ‘Closer from a distance’: Auras of Factory Records in design, place, film, and historiography James McGrath [email protected] On Monday 23 November 1992, as independent Manchester label Factory Records was declared bankrupt, co-director Rob Gretton was filmed leaving the company’s latter-day Charles Street headquarters. Asked to comment, he buoyantly replied: ‘This isn’t the final chapter. There’s a whole new book to be written. Whole new film to be made.’1 Gretton was proven right; repeatedly. Subjected to dozens of books, documentaries and films since 1992, Factory and its artists have received mainstream media attention surpassing the independent label’s profile during its fourteen-year existence. This article discusses how Factory, from its 1978 beginnings, mythologized itself and its artists through notions of distance and absence. Screens of mystique were created. Post-1992 narratives concerning Factory implicitly offer to penetrate these screens, taking audiences somehow closer to the artists, texts and events themselves. Exploring these processes, I adapt and expand on Walter Benjamin’s 1936 terms of ‘aura’, ‘cult value’ and ‘exhibition value’. I apply these to key Factory albums, designs and videos, as well as its celebrated Manchester nightclub, The Haçienda. I critique how Joy Division’s media presence gradually transformed after their catalogue was subsumed by a major label, London in 1992, and how this both developed and contradicted Factory’s initially very different approach to promoting (or not promoting) artists. -
Manchester's Post-Punk Heritage
Manchester’s Post-punk Heritage: Mobilising and Contesting Transcultural Memory in the Context of Urban Regeneration1 By Dagmar Brunow Abstract Urban memories are remediated and mobilised by different – and often conflicting – stakeholders, representing the heritage industry, municipal city branding cam- paigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Nort- hwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations invol- ved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘trans- cultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archi- ve. The article illustrates how different stakeholders invest in subcultural histori- es, sustaining or contesting hegemonic power relations within memory culture. -
Department of English and American Studies English Language and Literature the Development of Pop Music in Manchester in The
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Adéla Navrátilová The Development of Pop Music in Manchester in the 1970s and 1980s Bachelor’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph. D. 2016 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgment I would like to thank my supervisor Stephen Paul Hardy, Ph.D. for his help, patience and guidance of my thesis. I would also like to thank my family and the closest friends for encouraging me throughout the process of writing. 3 Table of Contents Introduction……………………………………………………………………….…….5 1. Popular culture………………………..………………………………….….....8 1.1. What is popular culture?..……………….…………………………………….…….8 1.2. The development of pop music……………………………..……....……….……..10 1.3. Progress of popular music……….…………………………..…………………….13 2. Manchester…………..…………..……..……..………..…..………………….15 2.1. Manchester as a working class city………………………………………………..15 2.2. Gay Culture…………..…………………………………………………………….19 2.3. Gunchester…………………………………………………………………………21 2.4. The beginnings of pop music in Manchester…..………………………………….22 2.5. The influence of the music on the city……………………………………………..23 2.5.1. Factory Records………………………………………………………….24 2.5.2. Strawberry Studios…………………………………………………….…27 2.5.3. The Haçienda…………………………………………………………….27 2.5.4. Madchester……………………………………………………………….30 3. Joy Division…………..…………………………………………….…...……..32 3.1. From Stiff Kittens to Unknown Pleasures…...………………………...…..………32 3.2. The reflection of Manchester in Joy Division’s music………….…………………36 Conclusion……………………….……………………………………………….……39 Works cited……………………………………………………………………...……..41 Summary……..…………………………………………………………………..……45 Resumé…………………………………………………………………………………46 4 Introduction Music in the second half of the twentieth century has undergone probably the fastest development in the whole history of music. -
DAVE HASLAM Manchester Where Strangers Meet 1
MY HOUSE IS YOUR HOUSE… HOW MUSIC VENUES ENRICH LIFE IN A CITY DAVE HASLAM Manchester Where Strangers Meet 1 My House Is Your House… How music venues enrich life in a city Text by Dave Haslam I have an older sister and a younger brother, but for some of my childhood my parents fostered, too. This was mostly when I was between about seven and twelve years old. Social services would phone and a child (or two siblings) would arrive at our door a few hours or a day later. In the space of five or six years, around thirty-five foster kids came into our home, and our lives, for anything between a few days and several months. The children were from a number of different religions and races, although not quite all ages. My parents had a policy of only accepting children younger than my younger brother. This was so we didn’t feel displaced, but it also had the effect of casting us all in caring roles. The children would be temporarily fostered with us for a variety of reasons; sometimes the mother was trying to escape domestic abuse, or the mother was in hospital or in jail. Often, we’d host a pair of siblings – usually an older sister with a younger brother – and they’d be glued together from the moment they came through the front door. We’d treat them just like younger brothers and sisters. We would care for and look out for them, but we’d also bicker sometimes. They would play football or hide-and-seek with us, watch Wacky Races on TV after school, and they’d come on family holidays. -
Tyler Women Walking Manchester
tyler Women Walking Manchester: Desire Lines Through The “Original Modern” City By Morag Lillian Rose A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Social Sciences Department of Urban Studies and Planning 2017 P a g e | 2 Acknowledgements The Flâneur is an illusion and so is the notion of a thesis completed in isolation. My heartfelt thanks to all the colleagues, friends and fellow travellers who have inspired, supported and enabled me to produce this work. In particular, I would like to gratefully acknowledge: Everyone in the Department of Urban Studies and Planning at the University of Sheffield who co-create a stimulating, collegial and productive environment. Particular thanks to my Supervisor Professor Rowland Atkinson for critical questions, support and changing my perspective; in short being an excellent supervisor. Thanks also to Dr Tom Moore, Dr Lee Crookes, Dr Steve Connelly, Professor John Flint, Dr Suzi Hall, Clea Carroll, Keely Armitage, all my fellow PGRs for comments, debate and friendship and my thesis mentor Dr Emily Goodall. I will be forever grateful to the wonderful Dr Victoria Henshaw for her belief in me and her suggestion I should do a PhD at Sheffield. Special thanks to all my research participants who shared their time and their stories so generously and who taught me so much. The LRM (Loiterers Resistance Movement) dérive every month in Manchester and I am touched by all who wander and wonder with me on First Sundays and beyond, on the streets and in cyberspace. -
Manchester's Post-Punk Heritage
http://www.diva-portal.org This is the published version of a paper published in Culture Unbound. Journal of Current Cultural Research. Citation for the original published paper (version of record): Brunow, D. (2019) Manchester’s post-punk heritage: mobilising and contesting transcultural memory in the context of urban regeneration Culture Unbound. Journal of Current Cultural Research, 11(1): 9-29 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-81920 Manchester’s Post-punk Heritage: Mobilising and Contesting Transcultural Memory in the Context of Urban Regeneration1 By Dagmar Brunow Abstract Urban memories are remediated and mobilised by different – and often conflicting – stakeholders, representing the heritage industry, municipal city branding cam- paigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Nort- hwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations invol- ved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘trans- cultural memory’. -
HOW MANCHESTER WAS MADCHESTER? the GEOGRAPHY of the MADCHESTER SCENE Dave Fawbert, University of Cambridge, Part II Dissertation, 2004
HOW MANCHESTER WAS MADCHESTER? THE GEOGRAPHY OF THE MADCHESTER SCENE Dave Fawbert, University of Cambridge, Part II Dissertation, 2004. Any questions/queries email: [email protected] Contents 1. Preface and Acknowledgements 2. Introduction 3. Literature Review 4. Methodology 5. Findings, Discussion and Analysis 6. Conclusions 7. Appendix 8. Bibliography 1. Preface and Acknowledgements I chose to study the geography of the Madchester music scene despite many accusations that popular music is not worthy of study and is not a relevant topic in Geography. I argue that music is not only of tremendous importance in an economic and political sense, through the music industry, but also that music, and music scenes, are to many people the most important part of their lives, and this alone makes this topic important. I argue that to truly understand how and why Madchester came to be, geography is utterly fundamental. I would like to thank those people who responded to my questionnaire for their time, and salute them for their passion towards this scene which shone through in their answers. I would also like to thank Tony Wilson for giving up his valuable time to be interviewed and also Tom Hingley for answering some provocative questions. I would also like to thank the bands, the DJs and everyone involved in the scene for their legacy of great music which will outlast all of us. 2. Introduction “We were good bands, us and the Roses. Better than most, or there wouldn’t be all this fuss. It really was about the bands more than Manchester though.