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4. the Second Coming Summary 2. She Bangs the Drums 1. I Wanna
: r 4 e 3 2 b 1 m 2 u 1 HHEE TTOONNEE OOSSEESS n T S R 0 T S R r 1 3 4 Ian Brown , John Squire2, Gary 'Mani' Mountfield , Alan 'Reni' Wren 2 e t U s 1. Manchester, UK (twitter: @thestoneroses), 2. Manchester, UK, 3. Manchester, UK, 4. Manchester, UK. G o E P 11.. II WWaannnnaa BBee AAddoorreedd 44.. TThhee SSeeccoonndd CCoommiinngg • I don't have to sell my soul, he's already in me. Love Spreads Begging You I don't have to sell my soul, he's already in me. • Love spreads her arms, waits there • The fly on the coachwheel told me that he got it and he knew • I wanna be adored. for the nails. I forgive you, boy, I what to do with it, Everybody saw it, saw the dust that he will prevail. Too much to take, made. King bee in a frenzy, ready to blow, got the horn good to • Adored, I wanna be adored. You adore me. some cross to bear. I'm hiding in go wait. Oh, his sting's all gone, now he's begging you, begging You adore me. You adore me. the trees with a picnic, she's over you. • I wanna be adored. there, yeah. • Here is a warning, the sky will divide. Since I took off the lid, • Let me put you in the picture, let there's nowhere to hide. Now I'm begging you, I'm begging ← Cover of the I Wanna Be Adored single me show you what I mean. -
The Stone Roses Music Current Affairs Culture 1980
Chronology: Pre-Stone Roses THE STONE ROSES MUSIC CURRENT AFFAIRS CULTURE 1980 Art created by John 45s: David Bowie, Ashes Cinema: Squire in this year: to Ashes; Joy Division, The Empire Strikes Back; N/K Love Will Tear Us Apart; Raging Bull; Superman II; Michael Jackson, She's Fame; Airplane!; The Out of My Life; Visage, Elephant Man; The Fade to Grey; Bruce Shining; The Blues Springsteen, Hungry Brothers; Dressed to Kill; Heart; AC/DC, You Shook Nine to Five; Flash Me All Night Long; The Gordon; Heaven's Gate; Clash, Bankrobber; The Caddyshack; Friday the Jam, Going Underground; 13th; The Long Good Pink Floyd, Another Brick Friday; Ordinary People. in the Wall (Part II); The d. Alfred Hitchcock (Apr Police, Don't Stand So 29), Peter Sellers (Jul 24), Close To Me; Blondie, Steve McQueen (Nov 7), Atomic & The Tide Is High; Mae West (Nov 22), Madness, Baggy Trousers; George Raft (Nov 24), Kelly Marie, Feels Like I'm Raoul Walsh (Dec 31). In Love; The Specials, Too Much Too Young; Dexy's Fiction: Midnight Runners, Geno; Frederick Forsyth, The The Pretenders, Talk of Devil's Alternative; L. Ron the Town; Bob Marley and Hubbard, Battlefield Earth; the Wailers, Could You Be Umberto Eco, The Name Loved; Tom Petty and the of the Rose; Robert Heartbreakers, Here Ludlum, The Bourne Comes My Girl; Diana Identity. Ross, Upside Down; Pop Musik, M; Roxy Music, Non-fiction: Over You; Paul Carl Sagan, Cosmos. McCartney, Coming Up. d. Jean-Paul Sartre (Apr LPs: Adam and the Ants, 15). Kings of the Wild Frontier; Talking Heads, Remain in TV / Media: Light; Queen, The Game; Millions of viewers tune Genesis, Duke; The into the U.S. -
Rape: a Eimlnist P1nalysis of Reni' Public
RAPE: A EIMLNIST P1NALYSIS OF RENI' PUBLIC SERVICE PROVISI(11S FOR &11ER WITH PARrICULAR REFERE10E TO THE SECUAL ASSNJLT REFERRAL CERE by NARIAN FOLEY Thesis presented for the degree of Doctor of Phi1oDhy in the University of Salford Department of Sociology DEYCENBER 1990 TPBLE OF ffE PAGE ACKNX4LEDGEENTS 1 ABSTRACr 11 LIST OF APPENDICES iv IN1RODUCTION 1 CHAPTER ONE P01 ice Response to Rape 2 Rape Victim examination suites 32 The police context 49 Crime Prevention 55 Crime Surveys 57 Advice to tmen 59 Woman blaming 62 How do the police construct 80 'legitimate' victims? Male attitudes to men reporting 5 rape Women police officers 88 The mare acceptable face of 95 the law? CHAPTER TWO Greater Manchester Police 100 Involvement in The SARC The Chief Constable 100 The Police Authority 103 Police involvement in setting 113 up the SARC The relationship between the 129 Police Authority and the SARC The SARC Liaison ConlTdttee 135 A legal contract between the 138 Police Authority and the SARC CHAPTER THREE Leave it to The Professionals 145 Understandings of professionalism 146 Manchester Rape Crisis Line 159 The women's movement and violence 162 against women Pressure on women's groups to 1b adopt a professional working mode The impact of this process on the 170 women' s movement The British situation ThU From Exclusion to Incorporation 180 A professional response 190 CHAPTER FOUR The Medical i zat ion of Rape 19 The police and the medical 201 profession The medical profession 204 Qualifications and training 2Db How does the SARC operate? 211 -
The Stone Roses Styl
STYLE GUIDE 2011 The Stone Roses were an English alternative rock band formed in Manchester in 1983. They were one of the pioneering groups of the Madchester movement that was active during the late 1980s and early 1990s. The band’s most successful lineup consisted of vocalist Ian Brown, guitarist John Squire, bassist Gary “Mani” Mounfield, and drummer Alan “Reni” Wren. The band released their début album, The Stone Roses, in 1989. The album was a breakthrough success for the band. Their second album Second Coming was released in 1994. The Stone Roses was released in April 1989, initially to mixed reviews, and entered the UK Albums Chart at number 32 in mid-May, the highest position it would reach that year. This was followed with the single “She Bangs the Drums”, which gave them a top forty UK hit, and a number one on the UK In- dependent Chart, and by that point they were receiving much greater press attention and were selling out shows across the country. Later in 1989 the band released a double A-side single, “Fools Gold/What the World Is Waiting For”, which reached number eight on the UK Singles Chart in November. Originally intended as a B-side, “Fools Gold” quickly became the Roses’ most famous song and a performance of it on Top of the Pops cemented their national fame. It gave them their first top ten hit and the album rose to number nineteen in the chart early the following year. The group won four NME Readers poll awards that year; Band of the Year, Best New Band, Single of the Year (for “Fools Gold”) and Album of the Year (for their debut album). -
Read Ebook {PDF EPUB} the Stone Roses and the Resurrection of British Pop by John Robb the Stone Roses – Review
Read Ebook {PDF EPUB} The Stone Roses And the Resurrection of British Pop by John Robb The Stone Roses – review. S o this is how you stage a resurrection. Far from the bright lights of Manchester, in the town where Ian Brown was born, the Stone Roses finally returned to the stage 16 years after their acrimonious break up. The free gig – announced at 4pm on Wednesday (fans were asked to bring proof of their loyalty to the band – official T-shirts, CD inlays – to gain entry) – drew a huge crowd to the unlikely venue of Warrington Parr Hall. They were all hoping to catch a glimpse of the band who soundtracked a generation and, with the sugar-coated guitar pop of their 1989 debut album, set the template for almost all good British guitar bands over the following two decades, from Oasis to Arctic Monkeys. If you want to know why the Stone Roses still matter, consider that their three huge shows at Manchester's Heaton Park this summer are the fastest-selling gigs in British rock history. The band have also signed a major record deal for two new albums, although tonight was not a night for debuting untested material. Instead the Roses stuck to a set of classic songs – from Made of Stone to Love Spreads – that made this an emotionally charged night. The venue made perfect sense – it was places such as this that originally made the band's reputation. The Stone Roses formed in Manchester in 1984 but it took five years of underground shows and fine-tuning to arrive at a sound that blended indie-guitar melodicism with the communal rush of the emerging acid house scene. -
Pictures of Lily', ‘Substitute’ and ‘The Kids Are Alright’
1984 23 October Hampstead Moonlight (anti-heroin benefit) Date: 23rd October 1984 Location: Hampstead Moonlight, London, England Supporting: Mercenary Skank, High Noon, and a secret special guest, who turned out to be Pete Townshend. Media reviews: Memories of fans: I am not the biggest fan of The Stone Roses but it turns out I was at their first ever gig. So, a mate of mine told me that I should share my story and I was pointed in your direction. So here we go. You can have this. It was the first time I saw Pete Townshend live and I was (and still am) an avid fan of The Who, but before I seen him I waited anxiously and watched the support group. Recently I found out that they were a little known group called The Stone Roses. They turned out to be the biggest band of their generation. I remember very little of their set. But I can remember them like The Cure. I remember how the singer was in charge of the stage. That was a week after I turned 17 and not only did I manage to see my hero, Pete Townshend for the first time but I managed to see, possibly the inventors of Brit-pop and saviours of British guitar rock, The Stone Roses. I saw the Stone Roses at Leicester many years later and there was a difference but more memory with the latter. I was speaking to a friend in Brussels who did have photos of The Stone Roses live at the Moonlight in 1984 but sold them around 1995 to a collector in London for £700. -
The Impact of the Manchester Music Scene on Youth Fashion 1986 to 1996
Loose Fit? The Impact of the Manchester Music Scene on Youth Fashion 1986 to 1996 Susan Atkin A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Department of Art and Design Manchester Metropolitan University 2016 Abstract This thesis questions the stereotype of the loose fitting silhouette of the Mancunian music scene from 1986 to 1996, exploring the links between the city’s music scene and local youth fashion. It establishes the important contribution of fashion to culture in the music scene and the distinct local “looks” that resulted. The thesis explores the literature of subculture and identity, enriched by the concepts of bricolage and local fashion. The contributory influence of the Manchester music scene is investigated in its public and private sites of creation and consumption. Combining cultural studies, dress history and fashion theory, the research is based on oral evidence in the form of active interviews, supported by analysis of contemporary images. Interviewees were pre-identified for their role in Mancunian fashion and music. These revealed previously unidentified aspects of Mancunian dress, which inform a discussion of the nature and context of local fashion in the period. Salient findings included the eloquence with which men can talk about clothes, and the sources and methods of the quest for authenticity through “looks”. The thesis repositions subculture, in the light of the shift toward more mutable groupings, and affiliations that can change with site. These formed a multi-faceted movement that was able to embrace both mainstream culture and its subversions. -
Hermione Hoby on Music
Section:OBS RW PaGe:30 Edition Date:120617 Edition:01 Zone: Sent at 15/6/2012 19:20 cYanmaGentaYellowblack Section:OBS RW PaGe:31 Edition Date:120617 Edition:01 Zone: Sent at 15/6/2012 19:21 cYanmaGentaYellowblack > > ‘Self-awareness is a dangerous thing’ Everything But the Girl !op interview, page 32 THE LIVE REVIEW Hermione Hoby on music Will this be a good year for the Roses? Think you’re too old to listen to pop? After 16 years away, the reunited Take a leaf out of Bernstein’s book… Stone Roses sparkle just enough to After a friend extolled its weirdness last week, I went and found a YouTube video dispel memories of their last, recently posted by Adam Bainbridge . Bainbridge records wistful, lo-fi dance disastrous, festival performance music under the name Kindness , but this isn’t a music video. It begins with him, long-haired and serious-faced, delivering a monologue about pop music. Then the camera jumps out to reveal him seated at a keyboard next to a cute kid in a strip y top. An informal, 16 years, and the atmosphere is relaxed Sesame Street -style music lesson ensues. – at least until the music starts. LA The second part is all very sweet and Judee punks the Bronx wake everyone up with sincere, but there’s something about a joyous, full-throttle set. Singer Matt his opening words that seems off – a Rogersers Caughthran is soon crowd-surfi ng, little mannered, a bit old-fashioned then organising a mosh with him in and faintly familiar. -
Record Number Object Simple Name Brief Description RD.28242 Collage Homemade Collage
Record number Object simple name Brief description RD.28242 collage Homemade collage. Consists of a piece of paper with a greetings card attached on either side by glue. Obverse shows birthday card depicting a pond with text 'from Granmama, 1888'. Reverse shows Christmas card depicting a tower by a river in the moonlight. Late 19th century. STOPM:1981.3 collage Wooden presentation frame containing a collage of cotton leaves, buds, flowers and bolls on a background of brown velvet. Given to firm in 1956, won by James Wilkings in a raffle in Manchester Military Hospital, 1914-1918 STOPM:2007.113 collage collage of cream paper labels fixed to cream fabric background with black fabric border. labels printed with the names of various cloths in black copperplate and attached to background with metal wires. part of set STOPM 2007.107-116 STOPM:2007.511 collage collage of newspaper cuttings mainly faded job advertisements and an article on fashion design; cream cardboard mount; silver metal frame STOPM:2008.337 collage Appliqued and embroidered collage picture entitled 'The Bridges,' by Miss H F Collins. depicts Stockport viaduct, Wellington Bridge and Wellington Mill, with the Stockport coat of arms embroidered in foreground. monogramed initials HC in bottom right hand corner. dark wood frame. STOPM:2008.47 collage fabric collage entitled Jodrell Bank Radio Telescope by E Sullivan; depicts radio telescopes and embroidered satellites, stars and moon; painted wood frame STOPM:2005.239 drawing colour pen and ink wash drawing; depicting an industrial skyline; on paper; wood & gilt frame; card mount; by Harold Riley circa 1975 E1993.1 painting Oil painting, entitled 'The Bomb Shelter (1940)', by Barbara Jones Wellman; depicting a wartime Air Raid Shelter scene in oil; framed and glazed in acrylic; mirrorplated; painted in recent times as a memory of a childhood in Longsight, date unknown. -
The History of Rock Music: 1989-1994
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock, trip-hop History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Dance-music in the Age of House (These are excerpts from my book "A History of Rock and Dance Music") Madchester, 1989-90 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The 1980s were almost over when a movement came out of Manchester that came to symbolize the hedonistic spirit of the era: "Madchester", a fusion of psychedelia, techno and pop. It was 1988 when anthems such as KLF's What Time Is Love imported acid house from the USA. The decade that had begun as the age of depressed cyberpunks was ending as the age of the wildest parties ever. Manchester's 1988 "summer of love" became a musical movement with the debut of Stone Roses (2), one of the most influential English bands of the decade. Stone Roses (1989) epitomized the fusion of hypnotic disco beats, catchy melodies, surreal arrangements, and Sixties-style naive enthusiasm. Mixing Byrds with Abba, and Hendrix with Petula Clark, and James Brown and the Mamas & Papas, songs such as I Wanna Be Adored, She Bangs The Drums and Made Of Stone bridged different languages and civilizations while setting the foundations of a new language and a new civilization.