'The loveliest -- and certainly the most human -- book about pop music I've ever read ... A delightful and humane soap opera, a real page-turner, full of rounded and entirely recognisable characters. 'Jon Ronson, Daily TelegraphTHE DEFINITIVE HISTORY OF BRITPOP -- BLUR, OASIS, ELASTICA, SUEDE & TONY BLAIRBeginning in 1994 and closing in the first months of 1998, the UK passed through a cultural moment as distinct and as celebrated as any since the war. Founded on rock music, celebrity, boom-time economics and fleeting political optimism -- this was 'Cool Britannia'. Records sold in their millions, a new celebrity elite emerged and Tony Blair's Labour Party found itself, at long last, returned to government. Drawing on interviews from all the major bands -- including Oasis, Blur, Elastica and Suede -- from music journalists, record executives and those close to government, The Last Party charts the rise and fall of the Britpop movement. John Harris was there; and in this gripping new book he argues that the high point of British music's cultural impact also signalled its effective demise -- If rock stars were now friends of the government, then how could they continue to matter?Brit list that ran to 7,000. *'Definitely, Maybe', Oasis's debut album, went straight to No 1, selling 100,000 copies in 4 days and outselling the Three Tenors in second place by a factor of 50%*On its first day in the shops Oasis's second album, 'What's The Story, Morning Glory', was selling at a rate of 2 copies a minute through HMV's London stores.; By 1997 Creation Records (which had been founded 12 years earlier with a bank loan of GBP1,000 by an ex-British Rail Clerk Alan McGee) announced a turnover of GBP36million thanks almost entirely to one band: Oasis.
Britpop and the English Music Tradition is the first study devoted exclusively to the Britpop phenomenon and its contexts. The genre of Britpop, with its assertion of Englishness, evolved at the same time that devolution was striking deep into the hegemonic claims of English culture to represent Britain. It is usually argued that Britpop, with its strident declarations of Englishness, was a response to the dominance of grunge. The contributors in this volume take a different point of view: that Britpop celebrated Englishness at a time when British culture, with its English hegemonic core, was being challenged and dismantled. It is now timely to look back on Britpop as a cultural phenomenon of the 1990s that can be set into the political context of its time, and into the cultural context of the last fifty years - a time of fundamental revision of what it means to be British and English. The book examines issues such as the historical antecedents of Britpop, the subjectivities governing the performative conventions of Britpop, the cultural context within which Britpop unfolded, and its influence on the post-Britpop music scene in the UK. While Britpop is central to the volume, discussion of this phenomenon is used as an opportunity to examine the particularities of English popular music since the turn of the twentieth century.
If we remember them at all, the Sheffield pop group Pulp are remembered for jolly class warfare ditty 'Common People', for the celebrity of their interestingly-named frontman, for the latter waving his arse at Michael Jackson at the Brit awards, for being part of a non-movement called 'Britpop', and for disappearing almost without trace shortly after. They made a few good tunes, they did some funny videos, and while they might be National Treasures, they're nothing serious. Are they? This book argues that they should be taken seriously —very seriously indeed. Attempting to wrest Pulp away from the grim jingoistic spectacle of Britpop and the revivals-of-a-revival circuit, this book charts the very strange things that occur in their records, taking us deep into a strange exotic land; a land of acrylics, adultery, architecture, analogue synthesisers and burning class anger. This is book about pop music, but it is mainly a book about sex, the city and class via the 1990s finest British pop group.
THE ART OF NOISE offers an unprecedented collection of insightful, of-the-moment conversations with twenty-seven great British songwriters and composers. They discuss everything from their individual approaches to writing, to the inspiration behind their most successful songs, to the techniques and methods they have independently developed to foster their creativity. Contributors include: Sting * Ray Davies * Robin Gibb * Jimmy Page * Joan Armatrading * Noel Gallagher * Lily Allen * Annie Lennox * Damon Albarn * Noel Gallagher * Laura Marling * Paul Weller * Johnny Marr * and many more Musician-turned-author Daniel Rachel approaches each interview with an impressive depth of understanding—of the practice of songwriting, but also of each musician's catalog. The result is a collection of conversations that's probing, informed, and altogether entertaining—what contributor Noel Gallagher called "without doubt the finest book I've ever read about songwriters and the songs they write." The collected experience of these songwriters makes this book the essential word of songwriting—as spoken by the songwriters themselves.
When John Major launched the UK’s National Lottery in 1994 he christened it “the people’s Lottery” and handed it to the mythical stewardship of the Everyman. But when the proceeds began to be distributed to worthy causes, including the British film industry, this populist rhetoric came under increasing strain. If Lottery funding is used to produce the type of British films which the public want to see, such as romantic comedies, then many question whether the market deserves such subsidy. Short films and low budget, experimental cinema – which often require state support – tend to go unwatched by large swathes of the Lottery ticket-buying public. This book explores the debates which were sparked by the arrival of “the people’s pictures”, and places them in historical context by examining their many precedents. Is public patronage a boon or a burden for filmmakers? And how do institutional cultures or political buzzwords affect the finished films? Case studies include the popular hits Billy Elliot (2000) and Shooting Fish (1997); art-house releases such as Love Is The Devil (1998) and Gallivant (1997); short films by Lynne Ramsey and David MacKenzie; and artists’ film and video work by Bill Viola and Tracey Emin.
'We didn't want the world. We understood the need for caution and compromise. But really: what was all this?' War in Iraq. Top-up fees. Blair in bed with Bush. Private companies continuing to buy into schools and hospitals. You wouldn't be alone in feeling unable to rush down to the polling station and vote Labour on election day. John Harris travels up and down the country to talk to MPs, health workers, teachers and policy-makers to find the answers to some key questions: Is there any chance of a swing back to a recognisable Labour Party? What does a Liberal Democrat actually believe in? Who on earth are the Respect Coalition? And can you risk a protest vote now that Michael Howard has restored some credibility to the Tories? With characteristic humour and an ability to cut through the double-speak of party politics, John Harris has written a book for the thousands of people asking themselves: so now who we vote for?
أيهما أشد خطراً، المسدس أم حوض السباحة؟ ما هي الأشياء المشتركة بين معلمي المدارس ومصارعي السومو؟ لماذا ما يزال تجار المخدرات يعيشون مع أمهاتهم؟ ما هو مقدار اهتمام الوالدين حقاً؟ ما هو تأثير قضية «رو» و«ويد» في جرائم العنف؟ قد لا تبدو هذه الأسئلة مثل الأسئلة النمطية التي يسألها الاقتصادي، لكن ستيفن د. ليفيت ليس اقتصادياً نمطياً؛ إنه عالم شجاع أكثر من أي شيء آخر، يدرس المادة والأحاجي في الحياة اليومية ــ من الغش والجريمة إلى الرياضة وتربية الأطفال ــ وتقوم استنتاجاته عادة على قلب الحكمة التقليدية رأساً على عقب. وغالباً ما يبدأ بتل كبير من المعطيات وبسؤال بسيط لم يطرح من قبل. إنه يهتم ببعض هذه الأسئلة مثل قضايا الحياة والموت، وبعضها الآخر ذو ميزات استثنائية دون شك. وهكذا يحتوي هذا الكتاب على حقل جديد من الدراسة، وهو (الاقتصاد العجيب). ومن خلال سرده للقصص الآسرة ومن النظرة العميقة غير المباشرة، يبين ليفيت وزميله ستيفن ج. دوبنر أن الاقتصاد -في جذوره- دراسة للحوافز ـــ كيف يحصل الناس على ما يريدون أو يحتاجون، لاسيما عندما يريد الناس الآخرون الشيء ذاته أو يحتاجونه. في كتابهما (الاقتصاد العجيب)، يشرع المؤلفان في استكشاف الجانب الخفي ـــ من كل شيء؛ الأعمال الداخلية لعصابة مخدرات، وحقيقة الوسطاء العقاريين، وأساطير تمويل الحملات. وقصص الغش لدى معلمي المدارس. وأسرار جمعية كوكلوكس كلان (العرقية). ومن هنا فإذا كانت الأخلاق تمثل كيف نريد للعالم أن يسير، فإن الاقتصاد يمثل كيف يعمل العالم فعلاً. صحيح إن قراء هذا الكتاب سيتسلحون بقصص وأحاجٍ تكفي لتروى في آلاف الحفلات، لكن كتاب (الاقتصاد العجيب) يستطيع أن يقدم أكثر من ذلك، إنه يعيد تعريف الطريقة التي ننظر بها إلى العالم الحديث تعريفاً حرفياً. العبيكان للنشر
A warts-and-all autobiography by the team of feuding brothers who are the biggest rave act of all time, Orbital Over the course of thirty years as one of the bestselling and most recognizable techno acts on the planet, Orbital (the duo of brothers Paul and Phil Hartnoll) has survived addictions, suicide, four marriages, and two splits and reunions. Halcyon and On and On is a great rock 'n' roll story without any actual rock 'n' roll, and, best of all, it's never been told. Since their first single "Chime" became a club hit in 1989, Paul and Phil have been at the heart of techno and rave music, viewed by critics more like an indie band than as a faceless dance act. In addition to millions of albums sold and career-defining performances at the Glastonbury Music Festival and the 2012 Olympics in London, theirs is a story of bust-ups and binges, suicide and addiction. Paul and Phil have their share of dark secrets that would make most rock bands blush, but no matter how bitterly they fight and how deeply they resent each other, their family ties always bind them. And now the Hartnoll brothers want to tell their story themselves, in their own words, as an oral history. Their biggest problem, however, is that they both remember most of their history a little differently.