In the Name of God: the Evolutionary Origins of Religious Ethics and Violence by John Teehan

Total Page:16

File Type:pdf, Size:1020Kb

In the Name of God: the Evolutionary Origins of Religious Ethics and Violence by John Teehan In the Name of God Blackwell Public Philosophy Edited by Michael Boylan, Marymount University In a world of 24-hour news cycles and increasingly specialized knowledge, the Blackwell Public Philosophy series takes seriously the idea that there is a need and demand for engaging and thoughtful discussion of topics of broad public importance. Philosophy itself is historically grounded in the public square, bringing people together to try to understand the various issues that shape their lives and give them meaning. This “love of wisdom” – the essence of philosophy – lies at the heart of the series. Written in an accessible, jargon-free manner by internationally renowned authors, each book is an invitation to the world beyond newsfl ashes and soundbites and into public wisdom. 1. Permission to Steal: Revealing the Roots of Corporate Scandal by Lisa H. Newton 2. Doubting Darwin? Creationist Designs on Evolution by Sahotra Sarkar 3. The Extinction of Desire: A Tale of Enlightenment by Michael Boylan 4. Torture and the Ticking Bomb by Bob Brecher 5. In Defense of Dolphins: The New Moral Frontier by Thomas I. White 6. Terrorism and Counter-Terrorism: Ethics and Liberal Democracy by Seumas Miller 7. Who Owns You? The Corporate Gold Rush to Patent Your Genes by David Koepsell 8. Animalkind: What We Owe to Animals by Jean Kazez 9. In the Name of God: The Evolutionary Origins of Religious Ethics and Violence by John Teehan For further information about individual titles in the series, supplementary material, and regular updates, visit www.wiley.com/go/bpp In the Name of God The Evolutionary Origins of Religious Ethics and Violence John Teehan A John Wiley & Sons, Ltd., Publication This edition fi rst published 2010 © 2010 John Teehan Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientifi c, Technical, and Medical business to form Wiley-Blackwell. Registered Offi ce John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offi ces 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offi ces, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of John Teehan to be identifi ed as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Library of Congress Cataloging-in-Publication Data Teehan, John. In the name of God : the evolutionary origins of religious ethics and violence / John Teehan. p. cm. – (Blackwell public philosophy series) Includes bibliographical references and index. ISBN 978-1-4051-8382-6 (hardcover : alk. paper) – ISBN 978-1-4051-8381-9 (pbk. : alk. paper) 1. Religious ethics. 2. Violence–Religious aspects. 3. Psychology, Religious. 4. Evolutionary psychology. 5. Cognitive psychology. I. Title. BJ1188.T44 2010 205.01′9–dc22 2009041467 A catalogue record for this book is available from the British Library. Set in 10/12pt Sabon by Toppan Best-set Premedia Limited Printed in Singapore 1 2010 To Patricia, who makes everything I do possible and To Megan and Daniel, who make everything I do worthwhile contents Acknowledgments ix Introduction: Evolution and Mind 1 1 The Evolution of Morality 9 Setting the Task 9 The Moral Brain 15 The First Layer: Kin Selection 21 The Second Layer: Reciprocal Altruism 25 A Third Layer: Indirect Reciprocity 27 A Fourth Layer: Cultural Group Selection 32 A Fifth Layer: The Moral Emotions 36 Conclusion: From Moral Grammar to Moral Systems 41 2 The Evolution of Moral Religions 43 Setting the Task 43 The Evolution of the Religious Mind 45 Conceptualizing the Almighty 53 The Moral Function of Gods 62 3 Evolutionary Religious Ethics: Judaism 72 Setting the Task 72 Constructing Yahweh 74 The Ten Commandments: An Evolutionary Interpretation 80 Conclusion: The Evolved Law 101 4 Evolutionary Religious Ethics: Christianity 104 Setting the Task 104 Constructing the Christ 107 viii contents Setting the Boundaries: Christian and/or Jew? 114 The Third Race: Christians as In-Group 124 Putting on Christ: Christianity’s Signals of Commitment 129 Loving Your Neighbor and Turning the Other Cheek 135 5 Religion, Violence, and the Evolved Mind 144 Setting the Task 144 Devoted to Destruction: Sanctifi ed Violence and Judaism 147 The Blood of the Lamb 160 A Case Study in the Evolved Psychology of Religious Violence: 9/11 174 6 Religion Evolving 180 Setting the Task 180 Varieties of Religious Expressions 182 If There Were No God … 186 Religion, Ethics, and Violence: An Assessment 193 Responding to Religion, Ethics, and Violence: Some Proposals 202 Conclusions 215 Notes 220 Bibliography 243 Index 259 acknowledgments This work is the end result of years of writing and speaking on these topics. Some of the basic ideas were fi rst published as “ The Evolution of Religious Ethics ” in Free Inquiry 25, no. 4 (June/July 2005), and then were expanded upon in “ The Evolutionary Basis of Religious Ethics” in Zygon: Journal of Religion and Science 41/3 (September 2006): 747 – 774. Comments and suggestions provided during the peer review process certainly contributed to refi ning those earlier musings. Also important to the development of my thinking on these issues was the feedback I received at the numerous conferences where different stages of the book took shape. Conversations with Robert Hinde at the Religion, Cognitive Psychology and Evolutionary Psychology Conference, sponsored by the New England Institute, were not only enjoyable but shaped some of the discussions in Chapter 6 . The Moral Brain: Evolutionary and Neuro- scientifi c Perspectives Conference, at Ghent University, Belgium, directed by Johan Braeckman and Jan Verplaetse, was a wonderful opportunity to explore the possible impact of neuroscience on religious psychology, and conversations with Adrian Raine, William Casebeer and Randolph Nesse all raised questions that spurred me to further refi ne my thinking. I also benefi ted greatly from an academic leave from Hofstra University which allowed me to spend a semester studying the Law and the Hebrew Bible, with Danna Nolan Fewell at Drew University. That course of study, along with Danna ’ s aid in negotiating the voluminous literature on the topic, and her comments on the material that became Chapter 3 , allowed me to wade more confi dently into the world of Ancient Judaism, and limited whatever missteps I may have taken. During the writing of the book I received more support than I can acknowledge. Arthur Dobrin was a constant source of encouragement throughout the long gestation period of this work. Stephanie Cobb not only provided an insightful review of my writing on Christianity, but was an x acknowledgments invaluable source of support throughout the fi nal stages of the project. I need to thank Stan Nevins for starting me on the philosophical path that brought me here. I also owe a debt of gratitude to Patrick Alexander, Balbinder Bhogal, Ann Burlein, Julie Byrne, Steven Clarke, Hank Davis, Chris DiCarlo, Warren Frisina, Terry Godlove, Deena Grant, Stewart Guthrie, Joseph Henrich, James Levy, Linda Longmire, Pete Richerson, William Rottschaefer, Azim Shariff, David Livingstone Smith, and Tim Smith, for their comments on various sections, chapters, and ideas in this work; an additional thanks to Stewart Guthrie for his help in working through some of the issues in Chapter 2 . The fl aws that remain in this book are of course mine, but they would have been embarrassingly greater without these contributions. I also benefi ted from the comments provided by various readers at Wiley - Blackwell, and I greatly appreciate the editorial support and advice that Jeff Dean provided along each stage of development; this helped me turn an undisciplined manuscript into a book. I also owe more thanks than I can express to my wife, Patricia, without whose support, encouragement, and great patience, this book would not have been written. introduction: evolution and mind In the distant future I see open fi elds for far more important researches. Psychology will be based on a new foundation, that of the necessary acquirement of each mental power and capacity by gradation. Light will be thrown on the origin of man and his history. (Charles Darwin, 1859) Charles Darwin showed great restraint in extending the process of natural selection to the human animal. He clearly saw there was nothing to prevent an application of the evolutionary process to the history of human beings, but Darwin was a cautious man and not prone to making claims that outran the available evidence.
Recommended publications
  • The Only Ones Free Encyclopedia
    FREE THE ONLY ONES PDF Carola Dibbell | 344 pages | 10 Mar 2015 | Two Dollar Radio | 9781937512279 | English | Canada The Only Ones - Wikipedia More Images. Please enable Javascript to take full advantage of our site features. Edit Artist. The Only Ones were an influential British rock and roll band in The Only Ones late s who were associated with punk rock, yet straddled the musical territory in between punk, power pop and hard rock, with noticeable influences from psychedelia. They are best known for the song " Another Girl, Another Planet ". Viewing All The Only Ones. Data Quality Correct. Show 25 50 Refresh. Reviews Add Review. Artists I The Only Ones seen live by lancashirearab. Artists in My LP Collection by sillypenta. Master Release - [Help] Release Notes: optional. Submission Notes: optional. Save Cancel. Contained Releases:. The Only Ones Album 20 versions. Sell This Version. Even Serpents Shine Album 15 versions. Baby's Got A Gun Album 24 versions. Remains Comp, EP 6 versions. Closer Records. Live Album 8 versions. Mau Mau Records. The Peel Sessions Album Album 8 versions. Strange Fruit. The Big Sleep Album 5 versions. Jungle Records. Windsong International. Live In Chicago Album 2 versions. Alona's Dream RecordsRegressive Films. Lovers Of Today 2 versions. Vengeance Records 2. Another Girl, Another Planet Single 5 versions. You've Got To Pay Single 3 versions. Fools Single 5 versions. Trouble In The World The Only Ones 8 versions. Special View Comp, Album 11 versions. Alone In The Night Comp 2 versions. The The Only Ones Story Comp 5 versions. ColumbiaColumbia. Hux Records.
    [Show full text]
  • Download || Editorial Board || Submission Guidelines || Current Issue || Recent Issues || Links & Books
    Genders OnLine Journal - "I Want It That Way": Teenybopper Music and the Girling of Boy Bands 1/16/12 11:22 PM Genders 35 2002 Copyright ©2002 Ann Kibbey. "I Want It That Way" Back to: Teenybopper Music and the Girling of Boy Bands by GAYLE WALD You are my fire The one desire Believe when I say I want it that way. - Backstreet Boys, "I Want It That Way" [1] Among recent trends in youth music culture, perhaps none has been so widely reviled as the rise of a new generation of manufactured "teenybopper" pop acts. Since the late 1990s, the phenomenal visibility and commercial success of performers such as Britney Spears, the Backstreet Boys, and 'N Sync has inspired anxious public hand-wringing about the shallowness of youth culture, the triumph of commerce over art, and the sacrifice of "depth" to surface and image. By May 2000, so ubiquitous were the jeremiads against teenybopper pop performers and their fans that Pulse, the glossy in-house magazine of Tower Records, would see fit to mock the popularity of Spears and 'N Sync even as it dutifully promoted their newest releases. Featuring a cover photo of a trio of differently outfitted "Britney" dolls alongside a headline reading "Sells Like Teen Spirit"--a pun on the title of the breakthrough megahit ("Smells Like Teen Spirit") by the defunct rock band Nirvana--Pulse coyly plotted the trajectory of a decade's-long decrescendo in popular music: from the promise of grunge, extinguished with the 1994 suicide of Nirvana lead singer Kurt Cobain, to the ascendancy of girl and boy performers with their own look-alike action figures.
    [Show full text]
  • Blackpool Pensioners Parliament 2014
    BLACKPOOL PENSIONERS PARLIAMENT 2014. The Parliament was held in the Wintergardens Blackpool from June 17th to the 19th. The weather was really good almost like being on the Mediterranean coast. Our stay in the Imperial Hotel was comfortable, the staff were all very cherful, friendly and helpful, the general atmosphere was relaxed and a world apart from what we endured in 2013 when we stayed at the Metrpole Hotel. The food was excellent and all of us would be happty to stay there again if required. The Unite Delegation consisted of the following Members:- Alan Jackson (National Chair), Ronnie Morrison, Alan Sidaway, David Morgan (National Vice Chair), Val Burns, Mary Dyer Atkins, Lorene Fabian, Mike McLoughlin. Bill Moores was unable to attend due to having had a recent operation. The March from the Blackpool Tower: - On the Tuesday afternoon the traditional march from the rear of the of the Blackpool Tower to the Wintergardens started at 1.00PM. Prior to the start of the march approximately 800 people gathered at the assembly point with their banners in glorious sunshine, the numbers were down in comparison with recent years. This reduction in numbers we feel was due in large part to the effect of the coalition’s austerity measures on the nations pensioners. The march set off to the winter gardens with the band playing and all the participants in high spirits in antipication of a great Parliament, there were many young people and local senior citizens showing a keen interest from the sidelines as we marched to the Wintergardens. The onlookers appeared to be more aware of what we were about this year than in previous years, we did not disapoint them as we shouted out appropriate slogans, which signified that we were in high spirits, and looking forward to having a great parliament.
    [Show full text]
  • Andy Roberts Urban Cowboy 01
    ANDY ROBERTS 01 URBAN COWBOY www.thebeesknees.com ANDY ROBERTS 02 URBAN COWBOY The first seeds for this album were sown in October 1970. Everyone, my Morgan Studios had been started by well-known drummer Barry Morgan post Liverpool Scene band, was put out of business in a devastating four years before, and was Samwell’s studio of choice. His principal client instant when our long wheelbase Transit was side swiped in Basingstoke in those days was Cat Stevens, who was well on his way to being a global by a jack-knifing flatbed, killing Paul Scard, our 19-year-old roadie, and superstar. One day after a Matthews session I was taking my time packing injuring Andy Rochford, his colleague. up my guitars, when in strolled Alan Davies, who was Steve’s right hand man on acoustic (still is, as far as I know). Alan and I knew each other from The musicians in the band were all safely back in London when it way back, when we had both at various times played with Jeremy Taylor happened. Earlier we had played at Southampton University, and I was and Sydney Carter. I showed him the Kriwaczek String Organ I had with Plainsong rehearsal photographs by Harry Isles sitting in drummer John Pearson’s kitchen in Bruton Place, having a cup me (a unique stringed instrument, designed by a great friend of mine, of of tea with John, Dave Richards and Paul, when Andy Rochford phoned up which I was at that time the sole exponent!), and then we began playing to ask if Paul could possibly return to Southampton to fetch him.
    [Show full text]
  • P&C Music Record Store Day 2017 – Remaining Stock
    P&C MUSIC RECORD STORE DAY 2017 – REMAINING STOCK This list is dated 16 June 2017 ARTIST / TITLE PRODUCT INFO £ 1. 12 STONE TODDLER: Does it scare you? / Scheming 2 picture disc LPs in back-to-back packaging, first time on vinyl. 31.99 2. 999: Live and loud LP, yellow vinyl, 1000 hand-numbered copies with insert. 999 kicked off in 1977 with I’m Alive and 21.99 Nasty, Nasty, two riotous singles that established them alongside the Pistols, Clash and The Damned. This release reproduces the original background liners and includes rare archival photos. 3. AIR: Le soleil 12” single, splattered vinyl. Includes Le soleil est près de moi, J'ai dormi sous l'eau, Le soleil est 23.99 près de moi (Automator remix) and J'ai dormi sous l'eau (Chateau Flight Remix). 4. AIRBOURNE: It’s all for rock and roll / It’s never too 12” single on 180g opaque bronze vinyl. A side was written as a tribute to Lemmy from 16.49 loud for me Motorhead! BACK IN STOCK! 5. ALICE IN CHAINS: What the hell have I + 3 more Double gatefold containing 2 x 7” singles, containing four tracks. 500 copies for UK. 15.99 BACK IN STOCK! 6. ALTERED IMAGES: Happy birthday 2LP on 180g vinyl, re-mastered ltd edn. Contains a bonus disc of seven extra tracks. 31.99 7. ANDERSON, Brett: Live at Koko, 2011 LP, dark green vinyl. The inner sleeve features previously unpublished photos from the rehearsal 27.99 sessions. 8. ANIMALS, THE: Five animals don’t stop no show LP.
    [Show full text]
  • 'Englishness' in the Quartets of Britten, Tippett, and Vaughan Williams
    Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 4-22-2009 The rT ouble with Nationalism: ‘Englishness’ in the Quartets of Britten, Tippett, and Vaughan Williams Sarah Elaine Robinson Trinity University Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation Robinson, Sarah Elaine, "The rT ouble with Nationalism: ‘Englishness’ in the Quartets of Britten, Tippett, and Vaughan Williams" (2009). Music Honors Theses. 4. http://digitalcommons.trinity.edu/music_honors/4 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. The Trouble with Nationalism: ‘Englishness’ in the Quartets of Britten, Tippett, and Vaughan Williams by Sarah Elaine Robinson A thesis submitted to the Department of Music at Trinity University in partial fulfillment of the requirements for graduation with departmental honors. 22 April 2009 _________________________________ ________________________________ Thesis Advisor Department Chair _________________________________ Associate Vice-President For Academic Affairs Student Copyright Declaration: the author has selected the following copyright provision: [X ] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. Code Title 17.
    [Show full text]
  • Estimation of the Relative Value of Compositions and Performances in Popular Concerts and Festivals Based on Survey Evidence
    Estimation of the relative value of compositions and performances in popular concerts and festivals based on survey evidence 200 Aldersgate | Aldersgate Street | London EC1A 4HD T: +44 (0)20 3727 1000 | F: +44 (0)20 3727 1007 | fticonsulting.com FTI Consulting LLP. Registered in England and Wales at the above address. Registered number OC372614, VAT number GB 815 0575 42. A full list of Members is available for inspection at the registered address. Table of contents Section 1. Introduction and summary 1 2. How a survey can be used to assess relative value 6 3. Choice modelling results 11 4. Reasons for attending a festival 15 Appendix 1 Econometric methodology 17 Appendix 2 Survey sample and design 23 Appendix 3 Survey questions 29 Appendix 4 Estimation results 42 Appendix 5 Relative value calculations 49 i 1. Introduction and summary In 1988 the Copyright Tribunal stated that the music works (i.e. the songs or compositions) at live popular music events are significantly less important than the performance. This statement appears to have been based upon the opinions of the Tribunal members rather than an empirical analysis. There is no market data about the prices of concerts with and without these two attributes and so we have used a technique known as choice modelling to infer their relative values. Choice modelling is an econometric survey method that simulates consumers’ purchasing decisions and allows us to estimate the value that consumers place on the different attributes of a product or service. This approach has been widely used from aiding decision making in the design of optimal pricing policies and the valuation of intellectual property rights, to estimating demand for new services and defining relevant markets.
    [Show full text]
  • P&C Music Rsd 2017 – Stock Remaining at 8 April 2019
    P&C MUSIC RSD 2017 – STOCK REMAINING AT 8 APRIL 2019 ARTIST / TITLE PRODUCT INFO £ 1. 12 STONE TODDLER: Does it scare you? / Scheming 2 picture disc LPs in back-to-back packaging, first time on vinyl. 31.99 2. ALICE IN CHAINS: What the hell have I + 3 more Double gatefold containing 2 x 7” singles, containing four tracks. 500 copies for UK. 15.99 3. ALTERED IMAGES: Happy birthday 2LP on 180g vinyl, re-mastered ltd edn. Contains a bonus disc of seven extra tracks. 500 copies 31.99 worldwide. 4. ANDERSON, Brett: Live at Koko, 2011 LP, dark green vinyl. The inner sleeve features previously unpublished photos from the rehearsal 27.99 sessions. 5. ANIMALS, THE: Five animals don’t stop no show LP. Black heavy vinyl. Includes 5 prints. 21.99 6. AQUA: Aquarium LP, 180g light blue opaque vinyl. Aqua’s groundbreaking bubblegum-pop album Aquarium on vinyl for 24.99 the first time. 7. AUCTION FOR THE PROMISE CLUB: See through 7” clear vinyl. 7.99 8. BAND OF PAIN / NURSE WITH WOUND: Abbey Rd LP. 500 copies only. 21.99 9. BARDO POND: Curanderos LP. Gold vinyl – DL card. 1000 copies worldwide. 23.99 10. BATMOBILE: Batomaniacs 7” single, gold vinyl, 750 numbered copies. Alternative versions of studio recordings. 10.99 11. BEVIS FROND, The: The Auntie Winnie album 2LP. Purple vinyl + DL card, 1000 copies only 31.99 12. BIZU, Izzy: Talking to you SIGNED 7” single, not on physical album. 500 for UK. 5.99 13. MARC BOLAN AND T-REX: Live 1977 (The Dandy in 2LP, coloured vinyl, 2000 copies.
    [Show full text]
  • Good Morning and Thank You for Joining Me. I'm Presenting Today On
    [slide#1 displaying] Good morning and thank you for joining me. I’m presenting today on the dual recorded legacies of the Grateful Dead: the official legacy of studio and live albums, controlled by the band and their record companies, and the unofficial legacy of concert recordings, controlled by the fans. The Dead’s improvisations, juggling of the setlist, segues between songs, and rearrangement of songs gave birth to an entire new genre—the jam band. At the time, they were the only ones, their uniqueness summed up by the tagline “there is nothing like a Grateful Dead concert.” Because of the unique nature of the Grateful Dead’s show, the fans wanted recordings of every concert. Because of the nature of the record industry, especially during the band’s lifetime, that was never going to happen through official channels. Eventually the band officially sanctioned the practice with the creation of the taper’s section in 1984, but the conflict between official and unofficial legacies reared its head again with the Thanksgiving Day Massacre in 2005. On November 22, 2005, all Grateful Dead shows were removed from the Live Music Archive. There was a massive backlash from the fans and nine days later the recordings were reinstated, though soundboard recordings could only be streamed, not downloaded. The fallout was the result of poor communication between band members, and between the band and fans, as well as the grey legal area of live tapes. I have published a paper in Popular Music and Society covering the incident in depth, but today I’m going to focus more on what it meant in terms of the band/fan and official/unofficial recorded legacy cooperations and conflicts.
    [Show full text]
  • Tony's Retirement Party/Brian Jessup's Birthday Party, May 26Th
    www.tftw.freeuk.com £1/19/11d - £2.00 - €3.00 - $3.75 Covering all types of roots music including Rock'n'Roll, R&B, Issue No. 53 soul, jazz, folk, Produced from a sustainable resource – the local stationer’s country and much more Tony's I see there is a TFTW 'Thank You Party' booked here for September (however not Saturday Retirement September 25th as stated in TFTW #52 as this is Party/Brian a Tuesday!) (Dates taken from the Keith Woods personal calendar that bears no relation to either Jessup's the Gregorian or Julian calendars, as is evidenced Birthday every time he provides a 'TFTW' publication date Party, May – H) 26th, Freemasons' Arms, Covent Garden On the day it all went well, and most people thought it was fantastic. I certainly enjoyed it, and couldn't have wished for anything better. What Rather than me spouting off about my own party, I made it so special for me was that cousins from repeat here just some of the comments I received both my mother's and father's side of my family, by email. (There were also many verbal praises.) their friends and partners, people from work, plus other friends of mine who are not into 'our' kind of 'Just to say we both enjoyed your party on music came along and all enjoyed it. Some were Saturday night, the music was brilliant' (Jennie clapping and bopping to the music. Even my from my work, and her partner Barrie who went to cousin Laurence, who had to be at work early the school with Bill Millar, who unfortunately was not next morning, stayed on until the end because he there.) was enjoying the music and atmosphere so much.
    [Show full text]
  • "Granose Were the Only Ones There!"
    BRITISH ADVENT INI= Church Paper of the British Union Conference of Seventh-Day Adventists Volume 79 • Number 12 • June 14, 1974 "Granose Were The Only Ones There!" Report of the Helfex Exhibition by Kay Miller, Granose Press Relations Secretary OME of our churchmembers reading this will have been to the HELFEX S Exhibition and must be thinking: "The above title is not true. There were hundreds of people there." In a way they are right, but also our title is right. Before explaining let me tell you what HELFEX is. The word HELFEX is extracted from three words: "HEaLth Food EXhibition." Wholesale merchants and manufacturers display their wares and warehouse- distributors and retail stores personnel visit the Exhibition to see what goods are being offered and if there are any new products on the market. As usual your own food factory had a stand. You would be proud of the display on the Granose stand had you seen it. People openly gaped when they realized that "Little Granose" was part of a world-wide health food organization. A plaque of the world—which incidentally was painted by our resident commercial artist Horace West—was a work of art, to say the least, and it took up the whole of the backdrop of the stand. This Mrs. Kay Miller serving as a representative at the Granose exhibition. Picture: Eric Southey. was floodlit, and every country having a health food factory and health food distribution centre owned by the move- ment was shown, and details given. Foods manufactured by our sister com- panies which encircle the globe were Holloway Baptismal Group displayed, and it was interesting to hear comments by passers-by who recognized these products—some of which were made in their own country, or a country which they had visited.
    [Show full text]
  • (And Recording) Studios
    Anderson, Robert (2015) Strength in numbers: a social history of Glasgow's popular music scene (1979-2009). PhD thesis. https://theses.gla.ac.uk/6459/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Strength in Numbers A Social History of Glasgow’s Popular Music Scene (1979-2009) Robert Anderson BA (Hons), PGCE, MEnvS, DipEd Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow June 2015 © Robert Anderson, 2015 2 Abstract In 2004, US Time magazine named Glasgow Europe’s ‘capital of rock music’ and likened it to Detroit in its Motown heyday (Porter, 2004). In 2008 UNESCO awarded Glasgow the title of ‘City of Music’ and the application dossier submitted in support of this title noted the importance of rock and pop for the city’s musical reputation. Since the late 1970s a large number of bands have emerged from (or been associated with) the city, yet little academic research has been carried out to determine the factors behind this phenomenon.
    [Show full text]