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'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". -
Historicizing the Liminal Superhero
BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence. -
Gigs of My Steaming-Hot Member of Loving His Music, Mention in Your Letter
CATFISH & THE BOTTLEMEN Van McCann: “i’ve written 14 MARCH14 2015 20 new songs” “i’m just about BJORK BACK FROM clinging on to THE BRINK the wreckage” ENTER SHIKARI “ukiP are tAKING Pete US BACKWARDs” LAURA Doherty MARLING THE VERDICT ON HER NEW ALBUM OUT OF REHAB, INTO THE FUTURE ►THE ONLY INTERVIEW CLIVE BARKER CLIVE + Palma Violets Jungle Florence + The Machine Joe Strummer The Jesus And Mary Chain “It takes a man with real heart make to beauty out of the stuff that makes us weep” BLACK YELLOW MAGENTA CYAN 93NME15011142.pgs 09.03.2015 11:27 EmagineTablet Page HAMILTON POOL Home to spring-fed pools and lush green spaces, the Live Music Capital of the World® can give your next performance a truly spectacular setting. Book now at ba.com or through the British Airways app. The British Airways app is free to download for iPhone, Android and Windows phones. Live. Music. AustinTexas.org BLACK YELLOW MAGENTA CYAN 93NME15010146.pgs 27.02.2015 14:37 BAND LIST NEW MUSICAL EXPRESS | 14 MARCH 2015 Action Bronson 6 Kid Kapichi 25 Alabama Shakes 13 Laura Marling 42 The Amorphous Left & Right 23 REGULARS Androgynous 43 The Libertines 12 FEATURES Antony And The Lieutenant 44 Johnsons 12 Lightning Bolt 44 4 SOUNDING OFF Arcade Fire 13 Loaded 24 Bad Guys 23 Lonelady 45 6 ON REPEAT 26 Peter Doherty Bully 23 M83 6 Barli 23 The Maccabees 52 19 ANATOMY From his Thai rehab centre, Bilo talks Baxter Dury 15 Maid Of Ace 24 to Libs biographer Anthony Thornton Beach Baby 23 Major Lazer 6 OF AN ALBUM about Amy Winehouse, sobriety and Björk 36 Modest Mouse 45 Elastica -
Britpop 1 a Free Quiz About the Music and the Musicians Associated with Britpop
Copyright © 2021 www.kensquiz.co.uk Britpop 1 A free quiz about the music and the musicians associated with Britpop. 1. Which journalist and DJ was credited for first using the term "Britpop" in 1993? 2. Which Oasis single provided them with their first UK number one in April 1995? 3. Gaz Coombes was the guitarist and lead singer of which 90s band? 4. The Verve's "Bittersweet Symphony" samples an orchestral version of which Rolling Stones hit? 5. Which Pulp album featured the single "Common People"? 6. Brett Anderson was the lead singer of which Britpop band? 7. What was the title of The Boo Radley's only UK top ten single? 8. In which northern city were Shed Seven formed in 1990? 9. Which song by Ocean Colour Scene was used by Chris Evans to introduce his guests on TFI Friday? 10. What was the original name of Britpop band Blur? 11. A founding member of Suede, which female fronted the band Elastica? 12. "Smart" was the debut album of which band? 13. Which band received the inaugural NME Brat Award for Best New Act in 1995? 14. Who sang alongside Space on their 1998 top five single "The Ballad of Tom Jones"? 15. Which single of 1991 gave Blur their first UK top ten hit? 16. Released in 1995, what was the title of Cast's debut album? 17. What was the name of the 90's band fronted by radio personality Laureen Laverne? 18. The 1996 single "Good Enough" was the only UK top ten hit for which band? 19. -
What Happened to the Female Stars of Britpop?
Home News Sport Weather Shop Earth Travel Search Music Menu My Music What happened to the female stars of Britpop? By Fraser McAlpine Monday 13th November 2017 The indie bands that came to dominate Britpop emerged from a healthy alternative culture that was politically involved, progressive in outlook and inclusive of female input, from the alien techno of Björk to the literate blues of PJ Harvey. So it's a shame that now, 25 years after the formation of Elastica, that moment in popular culture is so often reduced to a boorish bunfight between blokes from the north (Oasis) and blokes from the south (Blur), or a testosterone-driven clash of classes. It was all of those things and several more complicated stories too, and nowhere near as male-dominated as it appears in the retelling. Here are seven bands whose contribution should not be overlooked. 1. Elastica [LISTEN] Justine Frischmann: Why I dropped music for art Elastica formed in mid-1992, when Justine Frischmann and Justin Welch decided they needed a group to reflect the interests of people like them. They made one album of sharp post-punk with lyrics confidently tackling erectile disfunction, scenesters and making out in cars, and it sold faster than any debut album since Definitely Maybe (a record it held for over 10 years). There followed a messy period, with band members leaving and arriving and a scrappy second album The Menace in 2000, after which the band split up. Guitarist Donna Matthews continues to make music under her own name, and works as a Christian missionary to the homeless. -
Feuilleton MITTWOCH, 1
FRANKFURTER ALLGEMEINE ZEITUNG Feuilleton MITTWOCH, 1. APRIL 2015 · NR. 77 · SEITE 9 Covergrusel Kopftuchzwang as Großraumabteil im Intercity D ist fast leer; es besteht also kein nen durften und ihre Männer Wohnung, Grund, sich an den Tisch zu setzen, an Was hat das Bundes- Auto und Familienhochzeiten nicht allein dem eine Frau von etwa dreißig Jahren verfassungsgericht mit finanzieren können. Wer behauptet, das döst. Aber auf diesem Tisch liegt eine Kopftuchurteil ebnete Frauen den Weg in Zeitschrift, die den Blick des eben Ein- seinem Urteil, das Lehre- den Schuldienst, ist zynisch. gestiegenen beim Vorbeigehen anzieht Wenn jetzt noch der Druck auf die Mäd- wie ein Unfall. Denn das Titelbild die- rinnen zubilligt, Kopf- chen durch Lehrerinnen, die offensiv das ser Zeitschrift zeigt ein fürchterliches islamische Frauenbild demonstrieren, zu- Wesen: Wie mit schlecht gewordenem tuch zu tragen, getan? nimmt, wird ein weiterer Weg in die Selb- Geld abgerieben steht es da, trübäugig, Es wirft den Kampf ständigkeit verwehrt. Die Eltern werden verkniffen eitel, in selbstgefälliger sagen: „Kleide dich anständig wie deine Pose, die fast vornüberkippt vor lauter muslimischer Frauen Lehrerin.“ Gestärkt wird das kollektive echtblütiger Abstammung von gegen- muslimische Selbstverständnis, das sich in kulturellem Rebellenadel, jung nur aus um Selbstbestimmung der Koran-Sure 3, Vers 110 ausdrückt: „Ihr Trotz gegen die biologische Alterung auf fatale Weise zurück. (Gläubigen) gebietet, was recht ist, und wie gegen alle Tatsachen überhaupt, verbietet, was verwerflich ist.“ die es mit den Menschen verbinden „Ein von der Lehrerin aus religiösen könnten, denen von diesem Bild zuge- Von Necla Kelek Gründen getragenes Kopftuch kann aller- mutet wird, das Wesen zu bewundern, dings deshalb besonders intensiv wirken, die Haare nach nirgends gebürstet, aus- weil die Schüler für die gesamte Dauer des staffiert mit Klamotten, die den Stra- s ist paradox. -
Mangino 1 “To Congo, to Colombo, Can't Stereotype My Thing Yo:” M.I.A.'S Politics of Difference a Senior Honors Thesis P
Mangino 1 “To Congo, To Colombo, can’t stereotype my thing yo:” M.I.A.’s Politics of Difference A Senior Honors Thesis Presented in partial fulfillment of the with research distinction in Comparative Studies in the undergraduate colleges at The Ohio State University By Gabriella Marie Mangino The Ohio State University 2008 Project Advisor: Barry Shank, Comparative Studies Mangino 2 Introduction Nearly four years ago, I sat in my dorm room struggling with homework while the television provided some background noise. Tuned to MTV’s college sibling station, “MTV-U” I dismissed most of the uninteresting indie-rock. Then a new song came on, starting with a simple rhythm, a single drum tap, soon followed by a female vocal. Rapping in unrefined couplets, the voice was gritty with a slight British twang. The song intensified with a dance-y electronic loop. It was not like anything I had recently heard, what was this music? The screen offered equally interesting visuals; a woman of South-East Asian descent roaming the jungle and dancing. The song was “Sunshowers,” and the artist, Mathangi (Maya) Arulpragasam, better known as M.I.A. Since then I have been following the journey of M.I.A. as she occupies a unique space in popular music. I soon discovered she was an art school grad, and the war- inspired graphics in the following video for “Galang” were in fact created by her. I soon started to notice the stories of her revolutionary father along with numerous rumors about her love life and radical opinions. Her sound perplexed music journalists—it’s not quite hip hop, not quite electronic—and after recognizing her Sri Lankan heritage, it most frequently got thrown under the vast umbrella of the “world music” category. -
MATANGI / MAYA / M.I.A. Steve Loveridge
MATANGI / MAYA / M.I.A. Steve Loveridge 95 minutes / Color / English, Tamil / Sri Lanka-United Kingdom-USA WORLD CINEMA DOCUMENTARY Special Jury Award SUNDANCE FILM FESTIVAL 2018 INTERNATIONAL SALES CONTACT ANA VICENTE Ana Vicente [email protected] YUNG KHA Publicist [email protected] dogwoof.com MATANGI / MAYA / M.I.A. is drawn from a cache of personal tapes shot by Maya Arulpragasm and her closest friends over the last 22 years, capturing her remarkable journey from immigrant teenager in London, to the international popstar M.I.A. Inspired by her roots, M.I.A. created a SYNOPSIS mashup, cut-and-paste identity that pulled from every corner of her journey; a sonic sketchbook that blended Tamil politics, Art school punk, hip-hop beats and the voice of multicultural youth. Never compromising, Maya kept her camera rolling through her battles with the music industry and mainstream media as her success and fame grew and she rose to become one of the most provocative and divisive artists working in music today. “The film comes from a place of deep admiration for MIA, but unlike more fawning biographies, it makes a convincing case that this admiration is well earned” The Guardian “An extraordinary look at the complex origins of M.I.A.” SUNDANCE Billboard REVIEWS “Fascinating and insightful” Rolling Stone “Fans will thrill to this readily distributable Sundance premiere” Variety Matangi Arulpragasm (aka Maya to her friends, kinetic energy, her ability to turn everything into aka international superstar M.I.A. to most of an adventure. “She was so good at being poor and the world) has been a huge force in music for having fun on no money and making everything decades now, but despite her public presence into this exciting experience, like going to the and outspoken nature she is still something of an supermarket was really interesting all of a sudden enigma, guarded in her personal life. -
Suede: the Biography Free Download
SUEDE: THE BIOGRAPHY FREE DOWNLOAD David Barnett | 352 pages | 01 Nov 2013 | Carlton Books Ltd | 9780233003764 | English | London, United Kingdom Suede: Love and Poison: The Authorised Biography Tensions had begun to develop between Bernard Butler and the rest of the band during the group's tours, and they peaked when they reentered the studio to record a new single in late Worth the price for the photographic evidence of David's peacock-cockatoo-hairdo alone! Chez rated it liked it Mar 05, Love and Poison. The writing is poor, but Suede: The Biography stories are great. Namespaces Article Talk. As Barnett acts bitchy throughout the book, and occasionally got me to think "oh, when will his self-obsessed ass get edited the right way? Remarkably, these circumstances, far from destroying the band as might be expected, actually Suede: The Biography its core elements closer together. Refresh and try again. Suede vocalist Brett Anderson once described the career of rock band being formulaic: a story of struggle followed by success, followed Suede: The Biography disintegration. Later that year, the band released a super deluxe 20th anniversary edition of Coming Up. Brett Anderson grew up in a poor and eccentric family, falling in love with music during his childhood and plotting his escape from a town where nothing seemed to happen. I also saw them at Brixton when they played 'Coming Up' in its entirety - another excellent gig. For those of us who Suede: The Biography the impact of Suede when they first came to prominence, this book reflects Suede: The Biography echoes that miraculous time, the effect that had on their fans and the legacy they left behind which served as a soundscape to our lives. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Brit and non-Brit pop (These are excerpts from my book "A History of Rock and Dance Music") Brit-pop 1990-94 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. As was often the case in rock music, the most publicized phenomenon was also the least artistically interesting. "Brit-pop" became a derogatory term, one associated with ephemeral and dubious acts that speculated on facile melodies and trivial arrangements. If the British Invasion of the 1960s had at least revitalized the USA scene, the "Brit-pop" invasion of the 1990s... was hardly an invasion at all. The Brit-pop bands were all terribly similar and, mostly, tedious. In the end, only a few of them managed to have one or two world-wide hits, and most of them added very little to the history of rock music (other than yet another proof of the aberrations of its industry). In 1990 Brit-pop had not materialized yet as a "fad", but the seeds were already being planted by bands such as Lightning Seeds, with their retro' classic Cloudcuckooland (1990), and La's, with La's (1990), specializing in sculpting memorable and unassuming melodies. -
British Indie Music in the 1990S: Public Spheres, Media and Exclusion
British Indie Music In The 1990s: Public Spheres, Media and Exclusion Rachel White . Goldsmiths College Submitted for the degree of PhD Abstract Developing existing theories of public and counterpublic spheres, this thesis moves beyond theoretical ideals to formulate a working model of the cultural counterpublic sphere in which British indie music is understood, legitimated and ascribed value. This 'indie public' is then interrogated with the central aim of understanding the continued discrepancy in levels of male and female participation in British indie music at every level during the 1990s. Given the centrality of the media to contemporary, geographically dispersed publics it is through a discursive analysis of the British music press, particularly the NME and the Melody Maker, that the masculine constitution of the indie public is revealed. The music press is viewed as not just representing or reflecting the indie scene, but as central to its construction as a genre and the discursive production of privileged subject positions therein. The empirical research analyses how discourses of gender, and to a lesser extent race, class and sexuality, inform the key themes and concepts through which the music press both constructs and evaluates artists and audiences in the indie public. The bulk of the analysis focuses the extended coverage of four prominent 90s' indie bands; Suede, Elastica, Oasis, and Echobelly. The findings are presented thematically in four main areas; the construction of authenticity and 'the artist', the construction of stars and the bases of their appeal, the importance of British national identity during the 'Britpop' era of the mid-1990s and the production of fans and audiences in the indie public. -
Homophily and Heterophily in the Social Class Networks of Britpop
Citation: Millward, P and Widdop, P and Halpin, M (2017) A ’Different Class’? Homophily and Heterophily in the Social Class Networks of Britpop. Cultural Sociology, 11 (3). pp. 318-336. ISSN 1749-9755 DOI: https://doi.org/10.1177/1749975517712045 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/3747/ Document Version: Article (Accepted Version) The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. A 'Different Class'?: Homophily and Heterophily in the Social Class Networks of Britpop Introduction Britpop was an 'indie' music scene that broke into the mainstream ascendency in the mid-1990s (Bennett and Stratton 2010; Petridis 2014). Britpop bands, including Blur, Oasis, Pulp, Suede, Elastica and Menswear, shared the common characteristics of referring to British places and culture in their songs and singing in regional British accents (Harris 2010; Miles 1998).