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old sources of cultural capital (like the Hallé Orchestra), and gained new ones (like Granada TV). Charlotte Wildman has recently demonstrated the dynamism and optimism of urban redevelopment programmes from the end of the First World War onwards, which did not suggest a dramatic loss of confidence. 4 Nevertheless, it remains true that, over time, Manchester lost its nineteenth-century pre-eminence. By 1976, A. J. P. Taylor could write that ‘Manchester has become an agreeable provincial town. It is no
landscape of San Francisco; spurred on and thwarted by development, political change, and the languages and protocols of leathersex. Blake’s ‘DUST’ flags imply that in the transformation of ‘STUD’ to ‘DUST’ there have been losses and gains, mutually informing. Lost: a sense of cultural specificity occasioned by institutions such as leather bars, which by dint of urban redevelopment and ‘renewal,’ or through the vicissitudes of a growing and tenacious pandemic, 153 154 Bound together 7.2 Nayland Blake, Maypole Way, 2012 in FREE!LOVE!TOOL!BOX!, 2012, installation view
-hegemonic’ 153 154 Engendering an avant-garde landscape painting, control of real physical spaces in the city was very much in dispute in 1970. First Nations and recent immigrant populations contested property ownership and corporate-backed urban redevelopment schemes in diverse forms of protests, organized political activism including lawsuits, and physical confrontations. For the settlers and exogenous population of immigrants, land use protests were organized around two general concerns: the environmental impact on wilderness and wildlife by resource extraction