What Happened to the Female Stars of Britpop?
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“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
Bare Facts, Issue No. 863, 01.12.1995
Bare Facts ist December '95 University of Surrey Students' Newspaper issue 863 National.. In This Issue WORLD er..Demo? AIDS DAY iSTOBcmeeR them along the route, and stage, with Jim Murphy chants for more money being (President of NUS) on stage, HURSDAY interspersed with requests for Üiey began to shout abuse and T (mostly conservative) politi- throw half full cans of beer at 23RD OF cians to have various nasty the stage. With the speeches NUS Demo NOVEMBER. things done to them. One over the demo officially come Thousands of students point of potential conflict was to an end most students sim- Page 3 winding their way across Westminster Bridge where a ply went home, but many London from Malet group of students decided lo went on to a further meet Street to Kennington hold a sit down protest, but the while others, tried to go to stewards managed to guide Charring Cross police station Park. The reason for this the rest of the demo around to demonstrate for the release procession - the NUS the obstruction. Once past the of 3 students arrested during National Demo against obstruction the demo thinned the march. Many of this latter Student Hardship. out and may have gone silent group failed to tum up at the Fourteen Surrey students were it not for a group of pri- police station after Splitting joined others, from mary school children swing- up in an attempi to outwit the Student Unions around ing on the fences, yelling and police. participating the spirit of the country, to protest for things. -
Swervedriver Never Lose That Feeling Mp3, Flac, Wma
Swervedriver Never Lose That Feeling mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Never Lose That Feeling Country: UK Released: 1992 Style: Alternative Rock, Indie Rock, Shoegaze MP3 version RAR size: 1123 mb FLAC version RAR size: 1535 mb WMA version RAR size: 1377 mb Rating: 4.7 Votes: 243 Other Formats: AC3 XM AA WMA DTS DMF ASF Tracklist Hide Credits A Never Lose That Feeling/Never Learn B1 Scrawl And Scream The Watchmakers Hands B2 Engineer – Philip AmesGuitar [Pedal Steel] – Patrick Arbruthnot* B3 Never Lose That Feeling Companies, etc. Distributed By – Pinnacle Phonographic Copyright (p) – Creation Records Copyright (c) – Creation Records Pressed By – MPO Published By – EMI Music Published By – EMI Songs Engineered At – Greenhouse Studio, London Mixed At – Matrix Studios Mixed At – Battery Studios, London Credits Mastered By – Porky Mixed By – Alan Moulder Producer, Engineer – Alan Moulder (tracks: A, B1, B3) Producer, Written-By, Arranged By – Swervedriver Saxophone – Stuart Dace* (tracks: A, B3) Notes Engineered at The Greenhouse Studios A, B1, and B3 Mixed at Matrix Studios B2 Mixed at Battery Studios Stuart Dace courtesy of Deep Joy Inc (Worldwide) Patrick Arbruthnot courtesy of The Rockingbirds and Heavenly A Creation Records Product Printed on centre labels: Made In France Printed on rear sleeve: Made in England ℗ & © 1992 Creation Records Barcode and Other Identifiers Barcode: 5 017556 201206 Matrix / Runout (A side runout etched): CRE 120 T A1 IT'S A PORKY PRIME CUT. MPO IS THIS A COINCIDENCE OR WHAT? Matrix / Runout (B side runout etched): CRE 120 T B1 PORKY. MPO THE CHICKENS ARE DANCING. -
Marc Brennan Thesis
Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. -
Download Full Book
Respectable Folly Garrett, Clarke Published by Johns Hopkins University Press Garrett, Clarke. Respectable Folly: Millenarians and the French Revolution in France and England. Johns Hopkins University Press, 1975. Project MUSE. doi:10.1353/book.67841. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/67841 [ Access provided at 2 Oct 2021 03:07 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. HOPKINS OPEN PUBLISHING ENCORE EDITIONS Clarke Garrett Respectable Folly Millenarians and the French Revolution in France and England Open access edition supported by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. © 2019 Johns Hopkins University Press Published 2019 Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. CC BY-NC-ND ISBN-13: 978-1-4214-3177-2 (open access) ISBN-10: 1-4214-3177-7 (open access) ISBN-13: 978-1-4214-3175-8 (pbk. : alk. paper) ISBN-10: 1-4214-3175-0 (pbk. : alk. paper) ISBN-13: 978-1-4214-3176-5 (electronic) ISBN-10: 1-4214-3176-9 (electronic) This page supersedes the copyright page included in the original publication of this work. Respectable Folly RESPECTABLE FOLLY M illenarians and the French Revolution in France and England 4- Clarke Garrett The Johns Hopkins University Press BALTIMORE & LONDON This book has been brought to publication with the generous assistance of the Andrew W. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
BIMM Birmingham City and Accommodation Guide 2021/22
Birmingham City and Accommodation Guide 2021/22 bimm.ac.uk Contents Welcome Welcome 3 As Principal of BIMM Institute Birmingham, I’m hugely excited to be at the helm of our newest UK college, About Birmingham 4 located at the heart of this vibrant creative and artistic My Birmingham 10 musical city. About BIMM Institute Birmingham 12 At BIMM Institute, we give you an experience of the real BIMM Institute Birmingham Lecturers 16 industry as it stands today – it’s our mission to create BIMM Institute Birmingham Courses 18 a microcosm of the music business within the walls of Location 22 the college. If you’re a songwriter, you’ll find the best musicians to collaborate with; if you’re a guitarist, bassist, Your City 24 drummer or vocalist, you’ll find the best songwriters and Music Resources 28 fellow band members. If you’re a Music Business, Music Production, Event Management or Music Marketing, Media Accommodation Guide 34 and Communication student, you’ll have access to the best Join Us in Birmingham 38 emerging musical talent the city has to offer. BIMM Institute is a hotbed of talent and being a BIMM student means you’ll be part of that community, making many vital connections, which you’ll hopefully keep for the rest of your life and career. The day you walk into BIMM Institute as a freshly enrolled student is the first day of your career. While you’re a BIMM student, you’ll be immersed in the industry. You’ll be taught by current music professionals who bring real, up-to-date experience directly into the classroom, and the curriculum they’re teaching is current and relevant because it constantly evolves with the latest developments in the business. -
Interview with Lush's Frontwoman Miki Berenyi
Interview with Lush's frontwoman Miki Berenyi musicophile97.blogspot.co.uk/2016/08/interview-with-lushs-frontwoman-miki.html It’s a regular Tuesday night in everything but the fact that I am currently sat opposite Miki Berenyi, the returned frontwoman of Lush. After nearly a 20-year break, the 90s favourite indie kids make their return. Much has changed for the band in the interim: Elastica’s Justin Welch replaces Chris Acland on drums after Acland committed suicide in 1996; Berenyi all but disappeared from the music scene to start a family and hold down a regular job. In spite of this, she remains the same at the core: she sips on white wine that she brought over, and intermittently takes a few drags on an e-cigarette. When she speaks of how it feels to be back, Berenyi says it’s ‘really quite odd actually […] I was losing sleep about having agreed to do this. I suddenly thought, “fuck, I haven’t played in twenty years, this is going to be a disaster.” And actually, it was really good to just go into the studio and sing and play guitar and think, “ok, I can still do this!”’ In spite of having been out of the game for so long, there is a clear sense of anticipation to play live again [I spoke to Berenyi before Lush’s headline shows at the Roundhouse]. ‘It’s a bit weird cos we haven’t played yet […] I went on the radio and they were like “ooh so how’s it going?” and all I can really talk about is rehearsals. -
Student Lounge Revamped
The Pride http://www.csusm.edu/pride California State University, San Marcos Vol VIII No. 5/ Tuesday, September 26,2000 Faculty Files Grievance By: Jayne Braman istration and faculty. University's Convocation, Pride Staff The "faculty workload issue" President Gonzalez stated, "We revolves around a grievance filed are a CSU campus and we do have Students have many factors by the San Marcos chapter of to follow system-wide guidelines to consider when deciding on the faculty union, the California and operate within our funding which college to attend. Many Faculty Association (CFA), which formula which is predicated on CSUSM students credit the small is pending arbitration scheduled 15 units per Full Time Equivalent classes, the writing requirement, for October 28. Although the Student (FTES) and 12 Direct and the availability of professors details of the arbitration are not Weighted Teaching Units (WTU) as factors that ultimately add made public, the outcome of this for faculty." value to their education as well hearing will set a precedent that "The faculty argues that fund- as to their degrees. Students have will determine the future direc- ing increases depend strictly on also noted that the reputation tion of faculty workload. FTES, not on faculty teaching 12, of the institution will continue CSUSM President Alexander units," according to Dr. George to influence the value of their Gonzalez explains, "Faculty is Diehr, local union CFA President degrees long after they leave this contracted to work twelve (12) and Professor of Management campus. credit hours per semester." Science. "In fact," Diehr con- The window of opportunity Gonzalez continues, "This labor tends, "there is no mention any- is still wide open for CSUSM contract is part of a collective- where of faculty being required to to decide its future direction. -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
From Reluctance to Reunion Interview | Under the Radar
Lush: From Reluctance to Reunion Interview | Under the Radar undertheradarmag.com /interviews/lush/ Lush From Reluctance to Reunion Jul 01, 2016 By Frank Valish Photography by James Loveday Issue # 57 - M83 Back in 2014, when Lush's Miki Berenyi and Emma Anderson spoke with Under the Radar about the band's seminal albums Split and Lovelife, the idea of getting the band back together was something of a pipe dream. The London outfit, which formed out of friendship in the late '80s, rode a wave of shoegaze and Britpop to success in the decade that followed. But after disbanding in the wake of the suicide of founding drummer Chris Acland in 1996, Berenyi and Anderson moved on—they had children and got day jobs. Other than Anderson's stint in Sing-Sing in the late '90s and early '00s, they had been out of music completely. "It's so difficult," said Berenyi at the time. "There's part of me that thinks that it would be nice or it would be fun. I don't know. I feel very confused about the issue, if I'm honest. I don't play music. I'm not in a band. I haven't been 1/3 since Lush. The actual logistics of getting it together are pretty phenomenal. It scares me a bit." For Anderson, a single mother who found herself moving around a bit in the years prior, the demands of life made reformation tricky: "Having a young child is very, very time-consuming and exhausting and there's not a lot of brain space for anything else right now," she said at the time.