John Williamson and Martin Cloonan

60 3 Boom and bust: 1919–1933 The decade following the war witnessed a period of unprecedented demand for musicians in the UK, with cinemas, dance halls, restaurants, cafes, and broadcasters providing work for players of all abilities. The results of changing musical tastes and technological advances in recording and broadcasting ensured that the music profession opened up in previously unimaginable ways, leading to the first ‘talk of a shortage’ of musicians (Ehrlich 1985: 186). Unsurprisingly, this was to have huge consequences for the AMU, which found itself

in Players’ work time
John Williamson and Martin Cloonan

. These were again viewed as taking work from MU members. It is telling that the Union’s first pronouncements on the subject came nearly four years after Lonnie Donegan,3 as part of Chris Barber’s Band, recorded two skiffle tracks, including ‘Rock Island Line’4 for Barber’s New Orleans Joy album. Race was a known journalist, musician and broadcaster. Donegan began playing and recording skiffle songs while a member of Barber’s band, before leaving to launch a solo career. 4 ‘Rock Island Line’ and ‘John Henry’ were released as a single in 1955, reaching number

in Players’ work time
Peter Dawson
Jeffrey Richards

party in 1904 and this launched him on his professional career. In 1909 he appeared in The Mastersingeis at Covent Garden but he disliked singing in opera, considering it ‘too much work for too little pay’. 1 On the other hand he enjoyed singing in oratorio, Messiah being a particular favourite, and in Gilbert and Sullivan he participated in the complete recordings of Iolanthe, The Pirates of

in Imperialism and music
Acoustic communities, aesthetic colonization, and sound imperialism
Ming-Yuen S. Ma

. It is framed through Schafer’s concepts of sound imperialism, acoustic design, and acoustic community, as well as Bull’s discussion of aesthetic colonization, while informed by current discourses of race, sex, gender, class, nationalism, postcolonialism, site-specificity, institutional critique, sustainability, and other issues within sound studies and beyond. These complex and overlapping theories on the soundscape are examined and discussed in relation to select media art projects in this chapter. These sonic broadcasts, installations, field recordings

in There is no soundtrack
Abstract only
Sam Rohdie

narration was less his than the consequence of his means, less an intervention than a recording, and by that fact (or illusion) Muybridge gained his fame. Muybridge’s images were not projected but printed in a book. Each page was a study of a particular movement or action, all the elements simultaneously present at a glance rather than consecutively as in a projected film strip, each effacing the other. The

in Montage
John McAleer

. Practitioners of science and the networks they forged are important in understanding how information about, and representations of, landscapes were disseminated in Europe at the time. 4 For some, the land itself was a great territorial laboratory, useful for carrying out various scientific projects, such as botanising, recording climatic conditions, observing fauna, and even establishing observatories to study the stars. For

in Representing Africa
An introduction to the book
Sean Campbell and Colin Coulter

, however, that the band were at times the architects of their own misfortune. During their brief period together, The Smiths had no consistent or adequate management. The chaos that inevitably ensued was instrumental of course in the untimely demise of the band and would also spark a sequence of events that would land the four erstwhile friends and colleagues in court a decade later. In December 1996, the former drummer Mike Joyce successfully sued Morrissey and Marr for recording royalties that he claimed were owed to him. The acrimonious proceedings – in which Judge

in Why pamper life's complexities?
Abstract only
Concluding remarks
Andrew Asibong

their protagonists to smithereens, prodding them towards reassemblage in radically new environs, pulling them in and out of familiar and deeply unfamiliar frames, experimenting constantly with the all-pervasive prodding of change. Ozon’s cinema prior to Angel has, above all, been a cinema concerned with the recording of the metamorphoses wrought in human life by the intervention of forces beyond human control. His camera is often

in François Ozon
Paul Blackburn reads Olson’s ‘Maximus, to Gloucester: Letter 15’
Simon Smith

7 Reading Blackburn reading Olson: Paul  Blackburn reads Olson’s ‘Maximus, to Gloucester: Letter 15’ Simon Smith On 2 January 1953 Paul Blackburn dispatched a letter to Charles Olson inviting a contribution from the poet to a recording for an LP Blackburn was editing for Caedmon records at the end of the year: ‘[I] want you to have 15 minutes or better on it …. Will you send me – quickly – something new you would like to read aloud’.1 It appears to be a New Year’s resolution: the letter is zippy, unusually for Blackburn it’s handwritten, and full of suggestions

in Contemporary Olson
The intersections of language, space and time
Bettina Migge and Mary Gilmartin

, 2000) and audio-recordings of spontaneous everyday interactions. The interview is also increasingly used as a way to gain a structured insight into people’s (language) ideologies. Triangulation has significantly improved understandings of the local social structure, including the kinds of social groupings and categories that are salient, the social practices and ideologies linked to them, and the role of language in their construction (Eckert, 2000; Ochs, 1992). The influence of developments in sociolinguistics was evident in our approach to the interview. People who

in Migrations