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Funding of the arts and Heritage : Third report of session 2010-11, Vol. 2: Evidence
Hawkwind emerged in 1969 from Ladbroke Grove, the heartland of London’s counterculture, to become a ‘people’s band’ supported by bikers and hippies alike as they staged free gigs, benefits and protests and welcomed the involvement of any number of creative people – writers, poets, dancers – from within their community. They insisted upon all these things even with the Top Three success of 1972’s enduring anthem Silver Machine and the pioneering Space Ritual projects. They have had more line-up changes than their only remaining founder member Dave Brock, can remember. Motorhead’s Lemmy and legendary Cream drummer Ginger Baker were just two of the musicians sacrificed along the way as the band went head to head with the police, customs, the taxman – and each other. With the memories of many of those who were there, this is the story of an extraordinary 35-year career, the music and the band, whose fans still loyally turn out for conventions and are rewarded with ‘private festivals’, set against a background of sex, drugs, madness, writs, rage and revenge.
Always enigmatic and outside of the mainstream, most people associate Hawkwind with 'whoosh' noises, ‘Silver Machine’, Lemmy and 'Space Rock' music. From the beginning, Hawkwind have been trailblazers, even when they have explored blind alleys and cul-de-sac’s, and have never been afraid to innovate and mutate into strikingly different musical arenas. The band have a unique history in the world of rock music and have inspired not just other bands but also an entire sub-genre of music: Stoner Rock. Hawkwind's stated aim was to be a substitute for mind-expanding drugs. Instead, they used music, poetry, lights, projections, theatre and dance in an assault on the senses. Albums such as X I...
A revealing look at the pleasure we get from hating figures like politicians, celebrities, and TV characters, showcased in approaches that explore snark, hate-watching, and trolling The work of a fan takes many forms: following a favorite celebrity on Instagram, writing steamy fan fiction fantasies, attending meet-and-greets, and creating fan art as homages to adored characters. While fandom that manifests as feelings of like and love are commonly understood, examined less frequently are the equally intense, but opposite feelings of dislike and hatred. Disinterest. Disgust. Hate. This is anti-fandom. It is visible in many of the same spaces where you see fandom: in the long lines at ComicCon...
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Britain began the twenty-first century convinced of its creativity. Throughout the New Labour era, the visual and performing arts, museums and galleries, were ceaselessly promoted as a stimulus to national economic revival, a post-industrial revolution where spending on culture would solve everything, from national decline to crime. Tony Blair heralded it a “golden age.” Yet despite huge investment, the audience for the arts remained a privileged minority. So what went wrong? In Cultural Capital, leading historian Robert Hewison gives an in-depth account of how creative Britain lost its way. From Cool Britannia and the Millennium Dome to the Olympics and beyond, he shows how culture became a commodity, and how target-obsessed managerialism stifled creativity. In response to the failures of New Labour and the austerity measures of the Coalition government, Hewison argues for a new relationship between politics and the arts.
DIVWill the California wildfires bring Danna the summer excitement she craves?/divDIV In the Southern California suburb of Pinch Canyon, among the swimming pools and tennis courts, fifteen-year-old Danna Press finds her summer life so dull she longs for some cinematic excitement. A kidnapping? An earthquake? A presidential assassination attempt? Even the scary wildfires she watches on TV, raging in nearby Los Angeles, seem like they would liven things up. Though the wildfires are miles away with little to no chance of coming near her home, Danna has a contingency evacuation plan in place—her kittens and the neighbor’s horses first, her brother Hall, second. Her parents are safely at work...
This book offers an historical account of the period 2001-2020 by focusing on the shifting connotations of certain political catchphrases and words.
Diva, Prima Donna, Maestro, Virtuoso: creative geniuses with the ability to deliver artistic excellence. However this perception can serve to tilt the balance of power in relationships and to substantiate the notion of artistic temperament; the Master is always right and the Diva must have her way. The artistic genius may be hell to work with but the end result (the art) is exceptional, so behaviour deemed unacceptable in normal circumstances must be tolerated. If the corporate culture in the arts is in thrall to the concept of the artistic genius, then across the various disciplines within the creative sector the prevailing mentality may be subscribing to a set of values that allows, even d...