DOCSLIB.ORG

Popular Culture and Urban Regeneration: Manchester's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Popular Culture and Urban Regeneration: Manchester's Popular culture and urban regeneration: Manchester’s Northern Quarter Dr Katie Milestone, Department of Sociology, Manchester Metropolitan University, UK The Northern Quarter • ‘Creative’ district in central Manchester, UK • Bohemian, quirky, non- corporate, hip (?) • Hub for fledgling creative industries and pop culture Location Manchester, UK 500,000 (2.5 million) Cottonopolis, Shock city, History • 19th and 20th C (up to 1960s) - thriving commercial and retail area • Close to (slum) accommodation – Ancoats • Animated 24 hours due to market Ancoats Decline Rebirth Post-war Britain and the rise of the working class • Explosion of popular culture • Rise of consumer society • Dynamic new forms of cultural production • Established cultural hierarchies dismantled • Rise of working class access to Higher Education = w/c involved in cultural production • Cultural producers (writers, film makers, musicians and artists) from working class backgrounds • Changing demographic of cultural producers • Increased representation of working class culture – especially of the north Late 1970s - 1980s The 1980s saw the success of “From 1976 onwards alternative or resistant spaces emerged in Manchester music impact on which punk and post punk the physical and symbolic were to play a crucial role. transformation of the city… The habitus of pop bohemians became imposed on spaces of the city centre and abandoned Punk had shown the sites became captured and possibilities for independent reinterpreted. The pop scene had a physical and symbolic action in the provinces… impact on the environment yet, at the same time, it was In 1982, the Hacienda marks a inspired and impressed upon by the landscape, architecture transition from the old city to and mood of the city” Milestone,K 1996: 104 in Wynne and O’Connor (eds) From the new city – the city of the Margins to the Centre:Production and industrial production to the Consumption in the PostIndustrial City, Ashgate city of the consumption of the industrial. Late 1980s success… • ‘Madchester’ The ‘Madchester’ scene ..and the base for UK acid house Northern Quarter becomes a hub for pop cultural entrepreneurialism abundance of cheap, central city centre space available for new uses. Enterprise Allowance Scheme in 1983 • bottom up • Local government – delayed reaction • industrial heritage - valued and reused • Networking, working, living and leisure spaces • Business and technology support for creative businesses Manchester: context • De-industrial –search for new employment possibilities • ‘Northern’, working class city • Importance of post-punk music in re-imaging Manchester (Madchester) • Music culture/Enterprise Allowance new micro businesses and SMEs • Ex industrial spaces – cheap rents • Clustering of creative businesses UK Cultural Policy 1990s • Away from state subsidized provision of ‘the high arts’… • to a focus on enterprise and economic value of the culture…. • Led by the DCMS – (Department of Culture, Media and Sport) • importance of ‘culture, media and sport to Manchester’s economy ; these occupations are the fastest growing in Manchester and increased from 3,300 to 7,000 between 2009 and 2010.’ (Source: Manchester economic factsheet, February 2012). Evaluation : factors of successes 2011 The Northern Quarter is named ‘Britain’s best neighbourhood’ by the Academy of Urbanism http://www.academyofurbanism.org .uk/northern-quarter/ Evaluation : lessons-learnt .
Load more

Recommended publications
  • 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,
    [Show full text]
  • Where to Next? a Dynamic Model of User Preferences
    Where To Next? A Dynamic Model of User Preferences Francesco Sanna Passino∗ Lucas Maystre Dmitrii Moor Imperial College London Spotify Spotify [email protected] [email protected] [email protected] Ashton Anderson† Mounia Lalmas University of Toronto Spotify [email protected] [email protected] ABSTRACT 1 INTRODUCTION We consider the problem of predicting users’ preferences on on- Online platforms have transformed the way users access informa- line platforms. We build on recent findings suggesting that users’ tion, audio and video content, knowledge repositories, and much preferences change over time, and that helping users expand their more. Over three decades of research and practice have demon- horizons is important in ensuring that they stay engaged. Most strated that a) learning users’ preferences, and b) personalizing existing models of user preferences attempt to capture simulta- users’ experience to match these preferences is immensely valuable neous preferences: “Users who like 퐴 tend to like 퐵 as well”. In to increase engagement and satisfaction. To this end, recommender this paper, we argue that these models fail to anticipate changing systems have emerged as essential building blocks [3]. They help preferences. To overcome this issue, we seek to understand the users find their way through large collections of items and assist structure that underlies the evolution of user preferences. To this them in discovering new content. They typically build on user pref- end, we propose the Preference Transition Model (PTM), a dynamic erence models that exploit correlations across users’ preferences. model for user preferences towards classes of items. The model As an example within the music domain, if a user likes The Beatles, enables the estimation of transition probabilities between classes of that user might also like Simon & Garfunkel, because other users items over time, which can be used to estimate how users’ tastes are who listen to the former also listen to the latter.
    [Show full text]
  • Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
    Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.
    [Show full text]
  • A University Dissertation on the Impact of the Stone Roses (May 2000)
    A university dissertation on the impact of The Stone Roses (2000) "We don’t bear a grudge against anyone apart from Nick Kent because he’s a liar" : Journalism and the Stone Roses as part of the Manchester music scene from 1985 to July 1990 Nick Kent is a famous rock journalist and he was sent by the Face to interview the Stone Roses in December 1989, and the quotation that opens the title was a response as much to that interview, as a reflection of the Stone Roses trouble-some relationship with the press. The nature of careers and scenes prevents the time period from being arbitrary, but there are reasons for studying this period. For the music press this is a very interesting period, as this table suggests [Toynbee 93] In this is a period 5 magazines started and 2 weekly papers and 1 magazine ceased publishing. The sales figures as well show that fluctuating sales and varying demand for different magazines. The NME itself this was a time of great change. It had 2 different editors with the change from Ian Pye to Alan Lewis in mid-1987, and a fluctuating staff. The period also reflects a varied Stone Roses. Offering a rare opportunity to cover there entire history, Gary Johnson ran a review of their first gig in Sounds [Robb 97]. For most of the period, the band received no press coverage other than occasional single and live reviews. The level of coverage escalated in the last half of 1989, and the period ends with the block coverage of the Spike Island gig, one of the last gigs by the band for four years.
    [Show full text]
  • Commercial Alternative
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Commercial Alternative Joseph Brooker – Slow down / You’re taking me over… 1 – Another victory like that and we are done for.2 By the end of the 1980s, popular culture and media commentary brimmed with a self-conscious desire to name and describe the present. Few decades have had as clear an account of themselves as the 1980s, whatever the gaps and limits of that account. The 1990s became ever more sure of what had happened in the 1980s; but packing the 1990s themselves into a compelling summary proved more difficult. For the time being, those looking for stories of the last decade must make do with tracts like Stephen Bayley’s Labour Camp, a brief, bilious assault on the aesthetics and politics of Blair’s first term. For all his rancour, snobbery and carelessness, Bayley lands a few hits, and leaves a few hints. Bayley reads New Labour in terms not of social and economic policy, but of taste and image: Blair’s choice of car, the efforts at ‘rebranding Britain’, the design of the Dome. The cultural emblem of the Blair years, he proposes, is Elton John: He is a popular phenomenon, therefore it is irrelevant and elitist even to wonder if he is actually any good. He is emphatically middle-of-the-road. He is classless.... After a much-reported past of rock-star excess, he is clean, dried out…. Whoever would have thought you could relaunch old Labour? Whoever would have thought you could relaunch Elton John? The parallels between the two transformations are remarkable.3 The thought is suggestive, but leaves much unsaid about the new terrain inherited and shaped by the Blair government.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • Technoshamanism, Conservatism and Pagan Politics
    David Green1 Прегледни рад University of the West of England, Bristol, UK. UDK 32(420):316.7»198/199» 299.572(420) TRANCE-GRESSION: TECHNOSHAMANISM, CONSERVATISM AND PAGAN POLITICS Abstract This article looks at the politics of successive Conservative governments in Britain in the 1980s and ‘90s through the lens of the increasing politicisation of Paganisms in that period. A wave of moral panics in the late ‘80’s and early ‘90s concerning marginal communities – such as Ravers, New Age travellers and anti-road protesters – and their ‘riotous assemblies’, culminated in the Conservative Government of John Major enact- ing The Criminal Justice and Public Order Act of 1994. This was seen by these commu- nities as legislation against alternative lifestyles and, in some respects, an infringement of spiritual freedom. Using the case study of technoshamanism – a Pagan meeting of ‘rave’ culture and neo-shamanism – I wish to examine how the political and Pagan religious landscapes of ‘80s and ‘90s Britain intersected and led to politically engaged forms of Pagan practice often centred around grassroots lifestyle and environmental politics. This will be explored with especial reference to the politicisation of The Spiral Tribe, a technoshamanic collective of the early ‘90s, and their increasing involvement in resisting the 1994 Act and promotion of campaigns such as Reclaim the Streets. Key words: Conservatism, Criminal Justice Act, Moral Panic, Paganism, Spiral Tribe, Technoshamanism. The Thatcherite Agenda Much has been written about how the election of Margaret Thatcher as UK Prime Minister in 1979, and the subsequent Conservative governments of the 1980s and ‘90s, marked a turning point in British culture, politics and society (e.g.
    [Show full text]
  • Using Semantic Relations in Context-Based Music Recommendations
    Using Semantic Relations in Context-based Music Recommendations ˙Ipek Tatlı, Ay¸senur Birtürk Aysenur Birturk Department of Computer Engineering, METU Institute for Clarity in Documentation Inonu Bulvari, 06531 P.O. Box 1212 Ankara, Turkey Dublin, Ohio 43017-6221 {ipek.tatli, birturk}@ceng.metu.edu.tr [email protected] ABSTRACT we concentrate on the tag-based contextual representations In this paper, we describe an approach for creating music of music tracks. recommendations based on user-supplied tags that are aug- Items are mostly represented in vector spaces in the rec- mented with a hierarchical structure extracted for top level ommendation systems. In tag-based recommendation sys- genres from Dbpedia. In this structure, each genre is rep- tems, users and items are defined in terms of weighted vec- resented by its stylistic origins, typical instruments, deriva- tors of social tags. When there is a large amount of tags, tive forms, sub genres and fusion genres. We use this well- calculation of the items to be recommended becomes hard, organized structure in dimensionality reduction in user and because working with huge is to represent individual tracks item profiling. We compare two recommenders; one using (songs) in lower dimensional spaces. In order to reduce the our method and the other using Latent Semantic Analysis dimensionality, we focus on the genre information of the (LSA) in dimensionality reduction. The recommender using tags. Each genre has a relationship with some instrumenta- our approach outperforms the other. In addition to different tion, with some subgenre information and with style infor- mation each of which may be entered as tags in the music dimensionality reduction methods, we evaluate the recom- 1 menders with different user profiling methods.
    [Show full text]
  • Read Book Tracks in the Straw : Tales Spun from the Manger Pdf
    TRACKS IN THE STRAW : TALES SPUN FROM THE MANGER PDF, EPUB, EBOOK Ted Loder | 180 pages | 30 Jun 2004 | 1517 Media | 9780806690148 | English | Minneapolis, MN, United States Tracks in the Straw : Tales Spun from the Manger PDF Book It evokes the grim winter streets of Manchester excellently, and the chorus is wonderfully haunting. Add to cart. Stock No: WW Those were a punishment attached to original sin that were assigned to women in the garden of Eden after the fall of man. Sharee Johnson added it Jan 31, Together Forever Property Fund. E-Book anzeigen. Lyrically the songs were magnificent. Enlarge cover. The band quickly grew frustrated with small label FM Records, who seemed to favour caution releasing their work on a national scale and after a bitter argument they parted company and signed to Silvertone in Read more. Erik marked it as to-read Sep 30, Readers also enjoyed. The fight would continue for the next five years, despite a second and excellent album Turns into Stone being released in the meantime this fighting crippled a great deal of the bands creativity. On paper this eclectic mix of old guitar, ultra modern rhythm sections and tunefull singing looked impossible to pull off. You can unsubscribe at any time. Easily accessable tunes, funk or rock tracks that simply delivered. No ratings or reviews yet No ratings or reviews yet. Preview — Tracks in the Straw by Ted Loder. Tracks in the Straw: Tales Spun from the Manger. Books like these are cancer to faithful catholics, unless you have a trusted guide to point out the inaccuracies and theological pitfalls.
    [Show full text]
  • Downloaded From: Version: Accepted Version Publisher: Palgrave Macmillan
    Milestone, Katharine (2018) Madchester. In: Sounds and the City: Volume 2. Leisure Studies in a Global Era . Palgrave Macmillan, pp. 303-319. ISBN 3319940805 Downloaded from: https://e-space.mmu.ac.uk/621830/ Version: Accepted Version Publisher: Palgrave Macmillan Please cite the published version https://e-space.mmu.ac.uk Katie Milestone Madchester Introduction This chapter focuses on the ‘Madchester’ music scene that emerged from the English city of Manchester and the neighbouring city of Salford. The term ‘Madchester’ originates from the title of a 1989 EP released by the Salford band the Happy Mondays, ‘Madchester Rave On’i. The term ‘Madchester’ was enthusiastically embraced and accentuated by the music press of this period and was rapidly adopted as a shortcut to describe the alleged youth cultural zeitgeist of the Manchester music scene in the late 1980s and early 1990s (Champion 1990; Halfacree and Kitchin 1996, Haslam 2000). The Happy Mondaysii were arguably the figureheads of ‘Madchester’. Other notable bands that were bundled together as being part of a Madchester scene include The Stone Roses, The Inspiral Carpets, Northside, The Charlatans, New Order (who grew from the band Joy Division after the death of their singer Ian Curtis in 1980) and 808 State. Most of these bands had been active well before the invention of ‘Madchester’ and like many media-invented labels aimed at creating a neat and instantly recognisable product, the idea of Madchester grossly over simplified the complexities of the range of pop music being made in the Manchester area at this time. It also led to bands who did not neatly fit the Madchester paradigm to being overlooked or sidelined by the music industry.
    [Show full text]
  • Understanding Popular Music, Second Edition
    Understanding Popular Music Understanding Popular Music is an accessible and comprehensive introduction to the history and meaning of popular music. It begins with a critical assessment of the different ways in which popular music has been studied and examines the difficulties and debates which surround the analysis of popular culture and popular music. Drawing on the recent work of music scholars and the popular music press, Roy Shuker explores key subjects which shape our experience of music, including music production, the music industry, music policy, fans, audiences and subcultures, the musician as ‘star’, music journalism, and the reception and consumption of popular music. This fully revised and updated second edition includes: • case studies and lyrics of artists such as Shania Twain, S Club 7, The Spice Girls and Fat Boy Slim • the impact of technologies including on-line delivery and the debates over MP3 and Napster • the rise of DJ culture and the changing idea of the ‘musician’ • a critique of gender and sexual politics and the discrimination which exists in the music industry • moral panics over popular music, including the controversies surrounding artists such as Marilyn Manson and Eminem • a comprehensive discography, guide to further reading and directory of websites. Roy Shuker is Associate Professor in Media Studies at Massey University, New Zealand. He is the author of Key Concepts in Popular Music (Routledge 1998). LONDON AND NEW YORK Understanding Popular Music Second edition I Roy Shuker First published 1994 now known or hereafter invented, including by Routledge photocopying and recording, or in any 11 New Fetter Lane, London EC4P 4EE information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Innovation Detection Based on User-Interest Ontology of Blog Community
    Innovation Detection based on User-Interest Ontology of Blog Community Makoto Nakatsuji, Yu Miyoshi, and Yoshihiro Otsuka NTT Network Service Systems Laboratories, NTT Corporation, 9-11 Midori-Cho 3-Chome, Musashino-Shi, Tokyo 180-8585, Japan {nakatsuji.makoto, miyoshi.yu, and otsuka.yoshihiro}@lab.ntt.co.jp Abstract. Recently, the use of blogs has been a remarkable means to publish user interests. In order to find suitable information resources from a large amount of blog entries which are published every day, we need an information filtering technique to automatically transcribe user interests to a user profile in detail. In this paper, we first classify user blog entries into service domain ontologies and extract interest ontologies that express a user’s interests semantically as a hierarchy of classes according to interest weight by a top-down approach. Next, with a bottom-up ap- proach, users modify their interest ontologies to update their interests in more detail. Furthermore, we propose a similarity measurement between ontologies considering the interest weight assigned to each class and in- stance. Then, we detect innovative blog entries that include concepts that the user has not thought about in the past based on the analysis of approximated ontologies of a user’s interests. We present experimental results that demonstrate the performance of our proposed methods using a large-scale blog entries and music domain ontologies. 1 Introduction Blogs are becoming more popular for publishing and discussing interests among users who share interests between each other. In blog search, users can auto- matically pull blog entries from RDF Site Summary (RSS)1 feed by entering keywords about their interests beforehand.
    [Show full text]