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The Last of the Hippies
The Last of the Hippies An Hysterical Romance Penny Rimbaud First published in 1982 as part of the Crass record album Christ: The Album, Penny Rimbaud’s The Last of the Hippies is a fiery anarchist polemic centered on the story of his friend, Phil Russell (aka Wally Hope), who was murdered by the State while incarcerated in a men- tal institution. Wally Hope was a visionary and a freethinker, whose life had a pro- found influence on many in the culture of the UK underground and be- yond. He was an important figure in what may loosely be described as the organization of the Windsor Free Festival from 1972 to 1974, as well providing the impetus for the embryonic Stonehenge Free Festival. Wally was arrested and incarcerated in a mental institution after hav- ing been found in possession of a small amount of LSD. He was later released, and subsequently died. The official verdict was that Russell committed suicide, although Rimbaud uncovered strong evidence that SUBJECT CATEGORY Music-Punk/Subculture-UK he was murdered. Rimbaud’s anger over unanswered questions sur- rounding his friend’s death inspired him in 1977 to form the anarchist PRICE punk band Crass. $12.00 In the space of seven short years, from 1977 to their breakup in 1984, ISBN 978-1-62963-103-5 Crass almost single-handedly breathed life back into the then moribund peace and anarchist movements. The Last of the Hippies fast became PAGE COUNT the seminal text of what was then known as anarcho-punk and which 128 later contributed to the anti-globalization movement. -
Ideal Homes? Social Change and Domestic Life
IDEAL HOMES? Until now, the ‘home’ as a space within which domestic lives are lived out has been largely ignored by sociologists. Yet the ‘home’ as idea, place and object consumes a large proportion of individuals’ incomes, and occupies their dreams and their leisure time while the absence of a physical home presents a major threat to both society and the homeless themselves. This edited collection provides for the first time an analysis of the space of the ‘home’ and the experiences of home life by writers from a wide range of disciplines, including sociology, criminology, psychology, social policy and anthropology. It covers a range of subjects, including gender roles, different generations’ relationships to home, the changing nature of the family, transition, risk and alternative visions of home. Ideal Homes? provides a fascinating analysis which reveals how both popular images and experiences of home life can produce vital clues as to how society’s members produce and respond to social change. Tony Chapman is Head of Sociology at the University of Teesside. Jenny Hockey is Senior Lecturer in the School of Comparative and Applied Social Sciences, University of Hull. IDEAL HOMES? Social change and domestic life Edited by Tony Chapman and Jenny Hockey London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2002. © 1999 Selection and editorial matter Tony Chapman and Jenny Hockey; individual chapters, the contributors All rights reserved. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
A303 Amesbury to Berwick Down
A303 Amesbury to Berwick Down TR010025 6.3 Environmental Statement Appendices Volume 1 6 Appendix 6.1 Annex 8 Influences of the monuments and landscape of the Stonehenge part of the World Heritage Site on literature and popular culture APFP Regulation 5(2)(a) Planning Act 2008 Infrastructure Planning (Applications: Prescribed Forms and Procedure) Regulations 2009 October 2018 HIA Annex 8 – Influences of the monuments and landscape of the Stonehenge part of the WHS on literature and popular culture Introduction Stonehenge, Avebury and Associated Sites was inscribed on the UNESCO World Heritage Site List in 1986, one of the original list of seven sites in the UK to be put forward for inscription. The Statement of Outstanding Universal Value (OUV) was adopted in 2013. The Statement of OUV notes that ‘the monuments and landscape have had an unwavering influence on architects, artists, historians and archaeologists’ (UNESCO 2013). The 2015 Management Plan (Simmonds & Thomas 2015) identifies seven Attributes of OUV for the entirety of the WHS, of which the seventh is: ‘The influence of the remains of the Neolithic and Bronze Age funerary and ceremonial monuments and their landscape setting on architects, artists, historians, archaeologists and others.’ The landscape around Stonehenge, comprising natural and cultural elements, is not just a physical environment, but an abstraction that is perceived by the human observer. Such observers have included literary writers, poets and travel writers, who have used their sense of the place as they experienced it to inspire their creative writing. The unique strength of Stonehenge is that the monument is an instantly recognisable structure which resembles no other and onto which a range of fantasies can be projected (Hutton 2009, 45). -
From Glyndebourne to Glastonbury: the Impact of British Music Festivals
An Arts and Humanities Research Council- funded literature review FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS Emma Webster and George McKay 1 CONTENTS EXECUTIVE 4 INTRODUCTION 6 THE IMPACT OF FESTIVALS: A SURVEY OF THE FIELD(S) 7 ECONOMY AND CHARITY SUMMARY 8 POLITICS AND POWER 10 TEMPORALITY AND TRANSFORMATION Festivals are at the heart of British music and at the heart 12 CREATIVITY: MUSIC of the British music industry. They form an essential part of AND MUSICIANS the worlds of rock, classical, folk and jazz, forming regularly 14 PLACE-MAKING AND TOURISM occurring pivot points around which musicians, audiences, 16 MEDIATION AND DISCOURSE and festival organisers plan their lives. 18 HEALTH AND WELL-BEING 19 ENVIRONMENT: Funded by the Arts and Humanities Research Council, the LOCAL AND GLOBAL purpose of this report is to chart and critically examine 20 THE IMPACT OF ACADEMIC available writing about the impact of British music festivals, RESEARCH ON MUSIC drawing on both academic and ‘grey’/cultural policy FESTIVALS literature in the field. The review presents research findings 21 RECOMMENDATIONS FOR under the headings of: FUTURE RESEARCH 22 APPENDIX 1. NOTE ON • economy and charity; METHODOLOGY • politics and power; 23 APPENDIX 2. ECONOMIC • temporality and transformation; IMPACT ASSESSMENTS • creativity: music and musicians; 26 APPENDIX 3. TABLE OF ECONOMIC IMPACT OF • place-making and tourism; MUSIC FESTIVALS BY UK • mediation and discourse; REGION IN 2014 • health and well-being; and 27 BIBLIOGRAPHY • environment: local and global. 31 ACKNOWLEDGEMENTS It concludes with observations on the impact of academic research on festivals as well as a set of recommendations for future research. -
21St Century Exclusion: Roma and Gypsy-Travellers in European
Angus Bancroft (2005) Roma and Gypsy-Travellers in Europe: Modernity, Race, Space and Exclusion, Aldershot: Ashgate. Contents Chapter 1 Europe and its Internal Outsiders Chapter 2 Modernity, Space and the Outsider Chapter 3 The Gypsies Metamorphosed: Race, Racialization and Racial Action in Europe Chapter 4 Segregation of Roma and Gypsy-Travellers Chapter 5 The Law of the Land Chapter 6 A Panic in Perspective Chapter 7 Closed Spaces, Restricted Places Chapter 8 A ‘21st Century Racism’? Bibliography Index Chapter 1 Europe and its Internal Outsiders Introduction From the ‘forgotten Holocaust’ in the concentration camps of Nazi controlled Europe to the upsurge of racist violence that followed the fall of Communism and the naked hostility displayed towards them across the continent in the 21st Century, Europe has been a dangerous place for Roma and Gypsy-Travellers (‘Gypsies’). There are Roma and Gypsy-Travellers living in every country of Europe. They have been the object of persecution, and the subject of misrepresentation, for most of their history. They are amongst the most marginalized groups in European society, historically being on the receiving end of severe racism, social and economic disadvantage, and forced population displacement. Anti-Gypsy sentiment is present throughout Europe, in post-Communist countries such as Romania, in social democracies like Finland, in Britain, in France and so on. Opinion polls consistently show that they are held in lower esteem than other ethnic groups. Examples of these sentiments in action range from mob violence in Croatia to ‘no Travellers’ signs in pubs in Scotland. This book will examine the exclusion of Roma and Gypsy-Travellers in Europe. -
2000 Vw Beetle Radio Code the Name Eos Was Derived from Eos , the Greek Goddess of the Dawn
2000 vw beetle radio code The name Eos was derived from Eos , the Greek goddess of the dawn. However, a limited number of base trim models were sold as models of in the United States. Unlike the Cabrio, which was a convertible version of the Golf hatchback, the Eos was a standalone model with all new body panels, although it shared the platform and components from the Volkswagen Golf Mk5. The wheelbase matches the Golf Mk5 and Jetta. The Eos incorporates into its five piece folding roof an integrated and independently sliding glass sunroof — making the Eos the only retractable hardtop of this kind. The roof folds automatically into the trunk in twenty five seconds, thereby reducing trunk space from The design of the roof system is complex with its own hydraulic control system and numerous rubber seals. Periodic maintenance must be done to keep the seals conditioned so that they function properly. Proper body alignment is critical for proper top function. A facelifted Volkswagen Eos appeared in October , and went on sale as a model of outside Europe. This facelift includes a revised front and rear fascias, headlights and tail lights, side mirrors, as well as new wheel designs. The White Night edition was a special edition with custom wheels, custom black interior and a black and white colour scheme package. Other features include black mirror covers, radiator grille and trim strips, black Nappa leather seats, door and side trim and black steering wheel with light coloured seams, trim strips and radio trim in candy white, sill panel strips with white night letters. -
Sacred Sites, Contested Rites/Rights: Contemporary Pagan Engagements with the Past BLAIN, J
Sacred sites, contested rites/rights: contemporary pagan engagements with the past BLAIN, J. and WALLIS, R. J. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/58/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version BLAIN, J. and WALLIS, R. J. (2004). Sacred sites, contested rites/rights: contemporary pagan engagements with the past. Journal of material culture, 9 (3), 237-261. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Sacred Sites, Contested Rites/Rights: Contemporary Pagan Engagements with the Past Dr Jenny Blain Dr Robert J Wallis Keywords: Sacred Sites, Paganism, Heritage, New Indigenes, Contested spaces Published 2004 Journal of Material Culture as Blain, J. and R.J. Wallis 2004 Sacred Sites, Contested Rites/Rights: Contemporary Pagan Engagements with the Past. Journal of Material Culture 9.3: 237-261. Abstract Our Sacred Sites, Contested Rites/Rights project ( www.sacredsites.org.uk ) examines physical, spiritual and interpretative engagements of today’s Pagans with sacred sites, theorises ‘sacredness’, and explores the implications of pagan engagements with sites for heritage management and archaeology more generally, in terms of ‘preservation ethic’ vis a vis active engagement. In this paper, we explore ways in which ‘sacred sites’ --- both the term and the sites --- are negotiated by different -
FROM GLYNDEBOURNE to GLASTONBURY: the IMPACT of BRITISH MUSIC FESTIVALS an Arts and Humanities Research Council-Funded Literature Review
FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS An Arts and Humanities Research Council-funded literature review ANNOTATED BIBLIOGRAPHY This research review, consisting of a 170-entry annotated bibliography, was produced as part of an AHRC Connected Communities programme project entitled ‘The Impact of Festivals’. It supports a report, ‘From Glyndebourne to Glastonbury: The Impact of British Music Festivals’, published by the Arts and Humanities Research Council, launched at Cheltenham Jazz Festival on 29th April 2016. Authors: Dr Emma Webster and Professor George McKay University of East Anglia February 2016 Author: AB Associates Ltd Year: 2003 Title: Social and Economic Impact Assessment of Shetland Music Reference Type: Report Location: Publisher: Scalloway: AB Associates Ltd Number of Pages/Page numbers: 104 Keywords: Shetland, economic impact, social impact, income, expenditure, tourism, employment, volunteers, folk music, SWOT URL: http://www.shetlandarts.org/images/2009/06/Social-and-Economic-Impact-Assesment- of-Shetland-Music-2003.pdf Date accessed: 17-Dec-15 Abstract: The main purpose of the study is to provide baseline data on the scale and nature of the music industry in 2002, to assess its economic and social impact, and to identify some of the key issues and opportunities facing the industry. Research Notes: The report estimates the economic impact of two Shetland music festivals as being £117,000 in 2002 (the Folk Festival, and Fiddle and Accordion Festival), and the time spent by voluntary helpers amounted to the equivalent of half a job over a year, i.e. 0.5 FTE. In addition, it is estimated that visitors to the Festivals spent a further £69,000 indirectly on accommodation, food, etc. -
DEFINING the NEW AGE George D. Chryssides
DEFINING THE NEW AGE George D. Chryssides “Always start by defi ning your terms,” students are often told. Dictionary defi nitions are seldom attention-grabbing, and the meaning of one’s key terms may already be obvious to the reader. Indeed, any reader who purchases a volume about New Age must plainly have a working knowledge of what the term means—so why bother to defi ne it? There are a number of important reasons to start with defi nitions. First, as Socrates, whose life’s work consisted largely of attempts to formulate defi nitions of key concepts, ably demonstrated, there is a world of difference between knowing what a concept means and being able to articulate a defi nition. Second, there is a difference between a dictionary defi nition and the defi ning characteristics that emerge through scholarly discussion: key concepts in a fi eld of knowledge are usually more complex and subtle than can be summarised in a few dictionary phrases. Third, attempting a defi nition—in this case of ‘New Age’—enables us to bring out the various salient features of the move- ment, and to help ensure that key aspects are not neglected. Fourth, there are important comparisons and contrasts to be made between New Age, alternative spirituality, New Religious Movements (NRMs) and New Social Movements (NSMs), and hence an attempt to defi ne one’s subject matter is a useful exercise in conceptual mapping, enabling us to draw conclusions about what belongs to the fi eld of New Age studies and what lies outside. Finally, discussing defi nitions is important where a term’s meaning is contested: as will become apparent, the expression ‘New Age’ admits of different meanings, and indeed some writers have suggested that the concept is not a useful one, since it lacks any clear meaning whatsoever. -
Doctor of Philosophy
A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy School of Social Sciences University of Western Sydney March 2007 ii CONTENTS LIST OF TABLES........................................................................................ VIII LIST OF FIGURES ...................................................................................... VIII LIST OF PHOTOGRAPHS ............................................................................ IX ACKNOWLEDGMENTS................................................................................. X STATEMENT OF AUTHORSHIP .................................................................. XI PRESENTATION OF RESEARCH............................................................... XII SUMMARY ..................................................................................................XIV CHAPTER 1 INTRODUCING MUSIC FESTIVALS AS POSTMODERN SITES OF CONSUMPTION.............................................................................1 1.1 The Aim of the Research ................................................................................................................. 6 1.2 Consumer Society............................................................................................................................. 8 1.3 Consuming ‘Youth’........................................................................................................................ 10 1.4 Defining Youth .............................................................................................................................. -
Millicent Williamson Goldsmiths College University of London
WOMEN AND VAMPIRE FICTION: TEXTs, FANDOM AND THE CONSTRUCTION OF IDENTITY Millicent Williamson Goldsmiths College University of London Thesis submitted for the degree of PhD ABSTRACT This thesis examines what vampire fiction and vampire fandom offer to women and uses as a case study the accounts offered by women fans in New Orleans and Britain. Textual approaches to vampire fiction and femininity have largely proposed that just as the woman is punished by being positioned as passive and masochistic in the texts of Dracula, so too is the female viewer or reader of the texts. This thesis argues that such approaches are inadequate because they impose a singular ('Dracularesque') structure of meaning which both underestimates the variety of vampire fiction available and ignores the process of reading that women interested in the vampire figure engage in. It is argued, based on the women vampire fan's own textual interpretations, that the vampire can be read as a figure of pathos who elicits the fans' sympathy because of its predicament. It is further argued that this approach to the vampire appeals to the women because it brings into play a melodramatic structure which resonates with certain problematic experiences of feminine identity that are often suppressed in our culture and thus difficult to articulate. The figure of the vampire offers women fans both a channel for their creativity and a means of rebelling against the imposed norms of femininity. It is a well-rehearsed position in theories of fandom that the activity that fans engage in is a form of rebellion or resistance.