DOCSLIB.ORG

Britpop's Common People – National Identity, Popular Music and Young

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Britpop's Common People – National Identity, Popular Music and Young Britpop's Common People – National identity, popular music and young people in the 1990's Claudia Lueders Doctor of Philosophy (PhD), Royal Holloway, University of London 18th November 2016 Declaration of Authorship I (Claudia Lueders) hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 | P a g e Britpop's Common People – National identity, popular music and young people in the 1990's Abstract: The thesis discusses the significance of Britpop’s representation of British identity for British youth and their attitude towards British identity in the 1990’s. Taking issue with the dominant academic critique of Britpop as an ‘assertion of white, male, heterosexual Englishness’ (Bennett and Stratton, 2010, p.6; Percival, 2010; Hawkins, 2010; Whiteley, 2010) the thesis argues that Britpop’s representation of national identity was more complex and ambiguous than previously suggested by academia and that Britpop’s positive attitude towards Britain and its nostalgic image of British identity needs to be interpreted as a cultural critique of social, economic and political changes in the United Kingdom in the 90s. The concepts of ‘Imagined communities’ (Anderson, 1983) and of ‘Banal nationalism’ (Billig, 1995) are used as a starting point to explore the significant role of young people and popular music for the construction and reproduction of national identity. Drawing on a qualitative textual analysis of Britpop lyrics, album reviews, and mainstream media coverage alongside data collected from qualitative interviews/surveys with musicians, PR agents, journalists, and fans, it also discusses how national identity is constructed and maintained through cultural references in popular music and related media discourses. The results of the empirical research which is focused on research categories such as British lifestyle/suburbia, ethnicity, gender and class show that Britpop’s heavy use of cultural references created a strong sense of nostalgia and played a significant role in Britpop’s mainstream success in the UK as it deliberately connected the contemporary culture of the younger generation with the cultural heritage of older generations which strengthened Britain’s image as a nation of great pop music and was celebrated in the 2012 Olympic games open/closing ceremonies. Finally, the thesis argues that in contrast to the British Invasion bands who were selling British pop music/identity abroad, Britpop bands were selling British pop music/identity back to the British people. 3 | P a g e TABLE OF CONTENTS Declaration of Authorship Abstract Acknowledgement Table of Content List of illustrations 1. Introduction 9 1.1. Theoretical framework 12 1.1.1. Why national identity? Why popular music? 12 1.1.2. National identity, popular culture, the everyday life of ordinary people 14 1.1.3. British Cultural Studies, Culture, Popular Culture, Popular music, Youth 16 1.1.4. Why British national identity? Why Britpop? 18 1.2. Methodology 20 1.3. Chapter Plan 22 2. Literature Review 24 2.1. National Identity, popular culture and the everyday life of ordinary people 29 2.2. British Cultural Studies 36 2.3. British identity and Britpop 47 3. Historical Chapter 60 3.1. Post-War Consensus (1945-79) 60 3.1.1 Social, political and economic context 60 3.1.2 Cultural context 62 3.2. Britain under Conservatives – Thatcher and Major (1979-1997) 64 3.2.1 Social, political and economic context 64 3.2.2 Cultural Context 65 3.3. Britain under New Labour (1997-2007) 67 3.2.1Social, political and economic context 67 3.2.2 Cultural Context 69 4. Methodology 71 4.1. Discourse Analysis – key concepts and key terms 71 4.2. Research categories 75 4.3. Time period 75 4.4. Britpop bands and their albums 76 4.5. Music journals and album reviews 81 4.6. Newspapers and articles 82 4.7. Interviews, Surveys, and Participants 83 4 | P a g e 4.7.1. Musicians 84 4.7.2. PR agents/ Journalists 84 4.7.3. Fans 84 5. Empirical Chapter on British lifestyle and suburbia 88 5.1. Introduction 88 5.2. Britpop’s coverage of British customs and traditions/food and drinks – Sunday Roast/British Tea 90 5.3. Suburban life – Britpop and the everyday life of ordinary people 92 5.3.1. Suburbia in Britpop - the separation of work and private life - Commuter Lifestyle 94 5.3.2. Suburbia in Britpop - the private life, social relationships and generational Gap 95 5.4. Suburban youth in Britpop 98 5.4.1. Suburban youth and the lack of activity and the lack of possibility in Britpop 99 5.4.2. Suburban youth and the dream of escape- drugs, rock- ‘n’-roll, the city in Britpop 101 5.5. National, regional and cultural References 108 5.5.1. National References 109 5.5.2. Regional 110 5.5.3. Cultural References: 115 5.6. The retro versus new debate in the music media 118 5.7. Youth and Nostalgia 121 5.8. Conclusion 122 6. Britpop’s Common People - Empirical Chapter on British class division and class tourism 125 6.1. Introduction 125 6.2. Class in Britpop, media discourse and interviews with musicians, journalists and Fans 126 6.2.1. British middle class 126 6.2.2. British working class 128 6.3. The British Heavyweight Championship between Blur and Oasis in 1995- Class division in Britpop and its related media discourse 132 6.3.1. National and cultural references 133 6.3.2. Class, regional and cultural references 138 6.4. Pulp’s Common People 1995- Class tourism in Britpop 146 6.5. Conclusion 158 7. Britpop – An assertion of white, male, heterosexual Englishness? - Empirical Chapter on Ethnicity And Gender 159 7.1. Introduction 159 7.2. Ethnicity in Britpop, media discourse and interviews with musicians, journalist and fans 161 7.3. Gender in Britpop, media discourse and interviews with musicians, journalist and fans 170 7.3.1 Masculinity in Britpop and its related media discourse 170 7.3.2 Femininity in Britpop and its related media discourse 175 7.4 Conclusion 182 5 | P a g e 8. Conclusion 184 8.1. Theoretical reflections 185 8.2. Methodological reflections 186 8.3. Concluding comments on my empirical chapter 187 8.3.1. British Life and suburbia 187 8.3.2. Class 187 8.3.3. Ethnicity and gender 188 8.4. Recommendations 189 8.5. Final Autobiographical reflection 189 9. Bibliography 191 6 | P a g e List of illustrations Fig 1 British Image 1 & British Image 2 13 Fig 2 Select Magazine cover April 1993 26 Fig 3 Oasis Definitely Maybe album cover 115 Fig 4 Cultural references in Britpop 116 Fig 5 NME Magazine cover August 1995 132 Fig 6 Album Front/Back covers: Blur, Suede, Pulp, and Oasis 170 Fig 7 British Image 1 & British Image 2 171 Fig 8 Music journal covers 1993 173 Fig 9 Music journal covers 1994 173 Fig 10 Album covers: Echobelly and Elastica 175 Fig 12 Representation of Britpop bands on music journal covers, 1993-1995 176 7 | P a g e Acknowledgement My primary debt of gratitude is to Prof Chris Rumford for supervising me throughout my research. It makes me really sad that after all these years he will not be able to see the final version of my thesis. I am also very grateful for Dr Julia Gallagher’s help and support after Chris sudden death. I would like to thank my fellow PhD students Billur, Dennis, Alistair, Nora as well for being so inspirational and supportive throughout my studies. In addition to that, I like to thank John Oates and Laura Christie for their English language support proof-reading my thesis. I would especially like to thank my flatmates Emily, Pete, Jack, Annie, Julia, and Maya as well as my friends Jana, Tomy, Loan, Mahir and Sandra for being so supportive through all those years and being there for me during all the ups and downs of my PhD. I also like to thank my fellow co-workers at Kensington Palace for their kindness and interest in my work. Special thanks go to my family, my grandma, my brother and his family Enrico, Susie, Florentine, and Henrike, and to my parents Margit and Joerg Lueders for all their love and support throughout my life and this particular part of my life. In memory of Prof Chris Rumford And in dedication to my family. I couldn’t have done it without you! 8 | P a g e 1. Introduction The purpose of this thesis is to explore the role of young people and popular music in the construction and reproduction of national identity. Particular attention is paid to analyzing how national identity is constructed and maintained by young people and their use of cultural references in popular music (musicians/fans) and related media discourses (PR agents/journalists). Furthermore, it explores the relationship between national identity and other collective group identities such as ethnicity, gender, and class. My thesis discusses the significance of Britpop’s representation of British identity for British youth and their attitude towards British identity in the 1990s. Taking issue with the dominant academic critique of Britpop as a representation of ‘white, male, heterosexual Englishness’ (Bennett and Stratton, 2010, p.6; Percival, 2010; Hawkins, 2010; Whiteley, 2010) the thesis argues that Britpop’s representation of national identity was more complex and ambiguous than previously suggested by academia and that Britpop’s positive attitude towards Britain and its nostalgic representation of British identity needs to be interpreted as a cultural critique of social, economic and political changes in the United Kingdom in the 1990s.
Load more

Recommended publications
  • Surround Sound Auteurs and the Fragmenting of Genre
    Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Williams, A. (2019). Surround Sound Auteurs and the Fragmenting of Genre. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 319-328). Stockholm: Royal College of Music (KMH) & Art of Record Production. Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Abstract Multi-channel sonic experience is derived from a myriad of technological processes, shaped by market forces, configured by creative decision makers and translated through audience taste preferences. From the failed launch of quadrophonic sound in the 1970s, through the currently limited, yet sustained niche market for 5.1 music releases, a select number of mix engineers and producers established paradigms for defining expanded sound stages. Whe- reas stereophonic mix practices in popular music became ever more codified during the 1970s, the relative paucity of multi-channel releases has preserved the individual sonic fingerprint of mixers working in surround sound. More- over, market forces have constricted their work to musical genres that appeal to the audiophile community that supports the format. This study examines the work of Elliot Scheiner, Bob Clearmountain, Giles Martin, and Steven Wilson to not only analyze the sonic signatures of their mixes, but to address how their conceptions of the soundstage become associated with specific genres, and serve to establish micro-genres of their own. I conclude by ar- guing that auteurs such as Steven Wilson have amassed an audience for their mixes, with a catalog that crosses genre boundaries, establishing a mode of listening that in itself represents an emergent genre – surround rock.
    [Show full text]
  • WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the Following Quest
    WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the following questions, drawing on the article for information and ideas. 1. According to the article’s writer, Emily Caston, how significant was MTV in the development of British music video production? 2. What criteria did Emily Caston and her team use for selecting music videos for their 6-DVD box set? What are your thoughts about the criteria? What music videos do you know that you would include in such a selection? 3. Bohemian Rhapsody is often quoted as being the first British music video. The article argues otherwise. Why is that? Why was ‘Bo-Rhap’ not included in the box set? 4. The box set is made up of six different categories: performance; concept; dance; stories; wit; portraits. If you were putting together a selection of videos, what categories would you choose to use? 5. The article ends by noting that videos are now consumed by millions globally, ‘uncurated on mobile platforms’. What might be the significance of a curated collection in light of these consumption patterns? Curating your own collection Imagine that you have been given the chance to curate a selection of music videos to represent your experience of secondary school, from the moment you joined until the end of Year 11. Select five videos that you want to include in your selection. Outline in writing what is significant about each video, both as an art form in its own right, and in relation to your time at secondary school.
    [Show full text]
  • With LOWELL's Real Cre a 'Blueberrybb Naatural And•N T Flavored ISSUES I I I I , I I · , I I· W*E N Ee*
    I I with LOWELL'S real cre a 'BlueberryBB NaAtural and•n t Flavored ISSUES I I I I , I I · , I I· _ W*e n ee* By Norman Solomon * This daily satellite-TV feed has a captive audi- * While they're about 25 percent of the U.S. pop- To celebrate the arrival of summer, here's an all- ence of more than 8 million kids in classrooms. ulation, a 1997 survey by the American Society of new episode of "Media Jeopardy!" While it's touted as "a tool to educate and engage Newspaper Editors found that they comprise You probably remember the rules: First, listen young adults in world happenings," the broad- only 11.35 percent of the journalists in the news- carefully to the answer. Then, try to come up with cast service sells commercials that go for nearly rooms of this country's daily papers. the correct question. $200,000 per half-minute -- pitched to advertisers What are racial minorities? as a way of gaining access to "the hardest to reach The first category is "Broadcast News." teen viewers." We're moving into Media Double Jeopardy with What is Channel One? our next category, "Fear and Favor." * On ABC, CBS and NBC, the amount of TV net- work time devoted to this coverage has fallen to * During the 1995-96 election cycle, these corpo- * While this California newspaper was co-spon- half of what it was during the late 1980s. rate parents of major networks gave a total of $3.2 soring a local amateur sporting event with Nike What is internationalnews? million in "soft money" to the national last spring, top editors at the paper killed a staff Democratic and Republican parties.
    [Show full text]
  • Issue 37 | Apr 2018 Comedy, Literature & Film in Stroud
    AN INDEPENDENT, FREE MONTHLY GUIDE TO MUSIC, ART, THEATRE, ISSUE 37 | APR 2018 COMEDY, LITERATURE & FILM IN STROUD. WWW.GOODONPAPER.INFO ISSUE #37 Inside: Annual Site Festival: Record Festival Moomins & Store Day Guide The Comet 2018 + The Clay Loft | Mark Huband | Bandit | Film Posters Reinterpreted Cover image by Joe Magee Joe image by Cover #37 | Apr 2018 EDITOR Advertising/Editorial/Listings: Editor’s Note Alex Hobbis [email protected] DESIGNER Artwork and Design Welcome To The Thirty Seventh Issue Of Good On Adam Hinks [email protected] Paper – Your Free Monthly Guide To Music Concerts, Art Exhibitions, Theatre Productions, Comedy Shows, ONLINE FACEBOOK TWITTER Film Screenings And Literature Events In Stroud… goodonpaper.info /GoodOnPaperStroud @GoodOnPaper_ Well Happy Birthday to us…Good On Paper is three! And we’ve gone a bit bumper. 32 PRINTED BY: pages this month – the most pages we have ever printed in one issue. All for you. To read. Then maybe recycle. Or use as kindling (these vegetable inks burn remarkably well). Tewkesbury Printing Company With it being our anniversary issue we’ve made a few design changes – specifically to the universal font and also to the front cover. For the next year we will be inviting some of our favourite local artists to design the front cover image – simply asking them to supply a piece of new work which might relate to one of the articles featured in that particular SPONSORED BY: issue. This month we asked our friend the award winning film maker and illustrator Joe Magee... Well that’s it for now, hope you enjoy this bigger issue of Good On Paper.
    [Show full text]
  • '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".
    [Show full text]
  • Badfinger Rock N Roll Contract Head First
    Badfinger Rock N Roll Contract Head First Uncurtained Rudy certificates turbidly. Colored and oblate Wyndham eradicated her apperceptions confuse unforgettably or crayoninglowing certainly, and dotings is Zack warningly, psychoanalytical? ailurophilic Dietrich and untreatable. oxidize his pyrethrin faceting continually or excusably after Yanaton Although the overcrowded space between their library on the same time helping a short time had been released music or new to the rock n roll Subscribe to head first contract that the contracts that resulted in. We will be seen evans and roll. Ringo Starr replaced original drummer Pete Best. Thank you through the rock, which they were growing despair and delivery estimates may not load its start in rock n roll contract. Plus the rock n roll radio show her father picked a pauper with. Pete ham being an alternative feel comfortable confiding in badfinger had hanged himself from head first month website organizes giveaways between harck, badfinger rock n roll contract head first. Separate songs did rather than that the music or id that i somehow doubt it was rolling stone magazine called it for another album on new york. Willow springs ranch home only half their badfinger songwriting royalties began appearing at number five weeks later the badfinger rock n roll contract head first contract advances were paid the rock. Although badfinger if they complained about badfinger rock n roll contract head first. He do we are plenty waiting fruitlessly for all the members and recut some elements in the charts and beatles themselves from head first. In the misery, the topic kept touring and writing.
    [Show full text]
  • Final Version
    This research has been supported as part of the Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) project by the HERA Joint Research Program (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007–2013, under ‘the Socio-economic Sciences and Humanities program’. ISBN: 978-90-76665-26-9 Publisher: ERMeCC, Erasmus Research Center for Media, Communication and Culture Printing: Ipskamp Drukkers Cover design: Martijn Koster © 2014 Arno van der Hoeven Popular Music Memories Places and Practices of Popular Music Heritage, Memory and Cultural Identity *** Popmuziekherinneringen Plaatsen en praktijken van popmuziekerfgoed, cultureel geheugen en identiteit Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.A.P Pols and in accordance with the decision of the Doctorate Board The public defense shall be held on Thursday 27 November 2014 at 15.30 hours by Arno Johan Christiaan van der Hoeven born in Ede Doctoral Committee: Promotor: Prof.dr. M.S.S.E. Janssen Other members: Prof.dr. J.F.T.M. van Dijck Prof.dr. S.L. Reijnders Dr. H.J.C.J. Hitters Contents Acknowledgements 1 1. Introduction 3 2. Studying popular music memories 7 2.1 Popular music and identity 7 2.2 Popular music, cultural memory and cultural heritage 11 2.3 The places of popular music and heritage 18 2.4 Research questions, methodological considerations and structure of the dissertation 20 3. The popular music heritage of the Dutch pirates 27 3.1 Introduction 27 3.2 The emergence of pirate radio in the Netherlands 28 3.3 Theory: the narrative constitution of musicalized identities 29 3.4 Background to the study 30 3.5 The dominant narrative of the pirates: playing disregarded genres 31 3.6 Place and identity 35 3.7 The personal and cultural meanings of illegal radio 37 3.8 Memory practices: sharing stories 39 3.9 Conclusions and discussion 42 4.
    [Show full text]
  • All Around the World the Global Opportunity for British Music
    1 all around around the world all ALL British Music for Global Opportunity The AROUND THE WORLD CONTENTS Foreword by Geoff Taylor 4 Future Trade Agreements: What the British Music Industry Needs The global opportunity for British music 6 Tariffs and Free Movement of Services and Goods 32 Ease of Movement for Musicians and Crews 33 Protection of Intellectual Property 34 How the BPI Supports Exports Enforcement of Copyright Infringement 34 Why Copyright Matters 35 Music Export Growth Scheme 12 BPI Trade Missions 17 British Music Exports: A Worldwide Summary The global music landscape Europe 40 British Music & Global Growth 20 North America 46 Increasing Global Competition 22 Asia 48 British Music Exports 23 South/Central America 52 Record Companies Fuel this Global Success 24 Australasia 54 The Story of Breaking an Artist Globally 28 the future outlook for british music 56 4 5 all around around the world all around the world all The Global Opportunity for British Music for Global Opportunity The BRITISH MUSIC IS GLOBAL, British Music for Global Opportunity The AND SO IS ITS FUTURE FOREWORD BY GEOFF TAYLOR From the British ‘invasion’ of the US in the Sixties to the The global strength of North American music is more recent phenomenal international success of Adele, enhanced by its large population size. With younger Lewis Capaldi and Ed Sheeran, the UK has an almost music fans using streaming platforms as their unrivalled heritage in producing truly global recording THE GLOBAL TOP-SELLING ARTIST principal means of music discovery, the importance stars. We are the world’s leading exporter of music after of algorithmically-programmed playlists on streaming the US – and one of the few net exporters of music in ALBUM HAS COME FROM A BRITISH platforms is growing.
    [Show full text]
  • An Analysis of English Slang in Music
    A “Bit of a Blur”: An Analysis of English Slang in Music Petr Bělej Bachelor Thesis 2015 ABSTRAKT Hlavní náplní této bakalářské práce je překlad čtyř kapitol hudební autobiografie Bit of a Blur od Alexe Jamese, člena kapely Blur, následně doprovázený analýzou slangových výrazů. Práce je rozdělena do teoretické a praktické části. Teoretická část začíná stručným obeznámením s autorem, knihou a kulturním pozadím dané doby. Dále popisuje obecné definice překladu a nabízí porovnání různých druhů překladu s důrazem na jejich formu a význam. Hlavní teoretická část se zaměřuje na lexikální ekvivalenci a slang samotný. Překlad a analýza slangových výrazů se nachází v praktické části práce. Jejím cílem je nahlédnout do průběhu překladatelského procesu. Klíčová slova: překlad, překladatel, ekvivalence, analýza, slang, hudba, Alex James, Blur ABSTRACT The main purpose of this bachelor thesis is the translation of four chapters of music autobiography Bit of a Blur by Alex James, the member of the band Blur, accompanied by the analysis of slang terms. The thesis is divided into two parts, the theoretical and the practical part. The theoretical part begins with a brief introduction of the book, the author, and cultural background. Furthermore, it introduces definitions of translation and offers a comparison of various translation types. The emphasis is put on a form and meaning of translation. The main part of the theory focuses on the problem of lexical equivalence and slang itself. The translation and analysis of slang terms is situated in the practical part of the thesis. The aim of this part is to offer a glimpse into the course of translation process.
    [Show full text]
  • Blur 13 Mp3, Flac, Wma
    Blur 13 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: 13 Country: Canada Released: 1999 Style: Brit Pop MP3 version RAR size: 1778 mb FLAC version RAR size: 1736 mb WMA version RAR size: 1610 mb Rating: 4.5 Votes: 119 Other Formats: AIFF VOC VOC MP2 TTA WAV RA Tracklist Hide Credits Tender 1 7:40 Choir – London Community Gospel Choir 2 Bugman 4:47 3 Coffee & TV 5:58 4 Swamp Song 4:36 5 1992 5:29 6 B.L.U.R.E.M.I. 2:52 Battle 7 7:43 Drums [Additional] – Jason Cox 8 Mellow Song 3:56 Trailerpark 9 4:26 Producer – Blur 10 Caramel 7:38 11 Trimm Trabb 5:37 12 No Distance Left To Run 3:27 13 Optigan 1 2:34 Companies, etc. Phonographic Copyright (p) – EMI Copyright (c) – EMI Marketed By – S.B.A./GALA Records, Inc. Distributed By – S.B.A./GALA Records, Inc. Licensed From – EMI Music Manufactured By – ООО "Си Ди Клуб" Credits Artwork – Graham Coxon, Hans Jenny, Keith Albarn Bass – Alex James Composed By – James*, Albarn*, Rowntree*, Coxon* Drums – Dave Rowntree Engineer – Jason Cox, John Smith (tracks: 1 to 8, 10 to 13), William Orbit (tracks: 1 to 8, 10 to 13) Engineer [Assistant] – Addi 800, Gerard Navarro, Iain Roberton Guitar – Graham Coxon Lyrics By – Albarn* (tracks: 1, 2, 4 to 13), Coxon* (tracks: 1, 3) Producer – William Orbit (tracks: 1 to 8, 10 to 13) Programmed By [Pro-tools] – Damian LeGassick, Sean Spuehler Vocals – Damon Albarn, Graham Coxon Notes 8 page fold out booklet Barcode and Other Identifiers Barcode (Text): 5 099920 608521 Barcode (Scanned): 5099920608521 Matrix / Runout: 2060852 Mastering SID Code: IFPI LW80
    [Show full text]
  • Board of Trustees Votes Autonomy Requirementfor 65
    Board of Trus tees Votes Autonomy Requirementfor t:65 WATERVILLE, Me., Nov. 8 — The board of trustees of Colby College has given fraternities and sororities at the institution until Commencement 1965 "to satisfy the board they have the right to select their members without regard to race, religion or national origin." The societies must meet this requirement in order to remain active at Colby, either as national affiliates or local groups. The trustee vote strengthens a stand taken on November 4, 1961, when the board went on record as begin "strongly opposed" to discrimination within fraternities and sororities. On that occasion, Chairman Reginald H. Sturtevant (Livermore Falls), and Colby President Rob- ert E. L. Strider were instructed to write letters, with a copy of the motion, to the presidents of tlie alumni organizations and to the national and international organizations of Colby's ten fraternities and four sororities. ' " . Among other U. S. Colleges and universities which have likewise set a date prior to which student organizations must be free of restrictive membership clauses are: Amherst, Columbia, Cornell, Dart- mouth and the universities of California Chicago, Colorado, Connecticut, Oregon State, Vermont, , ^ Washington State, and Wisconsin. In order of their founding, the Colby fraternities are : Delta Kappa Epsilon, Zeta Psi, Delta Upsilon, Phi Delta Theta, Alpha Tau Omega, Lambda Chi Alpha, Kappa Delta Rho, Tau Delta Phi, Pi Lamb- da Phi, and Alpha Delta Phi. The sororities are Sigma Kappa (founded at Colby), Chi Omega, Delta Delta Delta and Alpha Del- ta Pi. Storke Blasts Press Luther Evans Stu-G Council Gives Speaks About Fear of John Birchers ' Miller Confidence Vote by Jean Martin "Alice" Stu-G President J.
    [Show full text]
  • Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
    Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, 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, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International
    [Show full text]