Search results

Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

Abstract only
Something rich and strange

Manchester: Something rich and strange challenges us to see the quintessential post-industrial city in new ways. Bringing together twenty-three diverse writers and a wide range of photographs of Greater Manchester, it argues that how we see the city can have a powerful effect on its future – an urgent question given how quickly the urban core is being transformed. The book uses sixty different words to speak about the diversity of what we think of as Manchester – whether the chimneys of its old mills, the cobbles mostly hidden under the tarmac, the passages between terraces, or the everyday act of washing clothes in a laundrette. Unashamedly down to earth in its focus, this book makes the case for a renewed imaginative relationship that recognises and champions the fact that we’re all active in the making and unmaking of urban spaces.

Abstract only
David Brauner

Manchester had on L.S. Lowry, Jacobson claims that it ‘imbued him with the particular melancholy that seems to blow in off the Pennines’, and ‘locked him in a quarrel with himself that was a spur to art’ ( Jacobson 2007a : 1). As is so often the case when an artist writes about another artist, Jacobson’s portrait of Lowry is clearly also a displaced self-portrait. Likewise with his tribute to Tony Wilson, the journalist, entrepreneur and driving force behind the ‘Madchester’ music scene of the late 1980s and early 1990s, whom he defines as embodying ‘the soul of Manchester

in Howard Jacobson
What do The Smiths mean to Manchester?
Julian Stringer

a sense of excitement may be generated. To repeat, The Smiths’ glorious career is here recalled positively but in no sense fetishised or singled out for special attention. As one report makes clear, they are in this sense just one Mancunian band among many: ‘The Stone Roses, The Twisted Wheel, The Hacienda, Madchester, That Sex Pistols gig, The Smiths. Manchester is never shy of quoting its rich and diverse musical heritage as a reason it stands out from other cities in the country.’37 Another report includes the group as merely one of the stellar names

in Why pamper life's complexities?
Abstract only
City of culture
Mike Savage and Janet Wolff

to the music scene in ‘Madchester’ in the 1980s – and these certainly are high points in Manchester’s history. But this narrative is too easily woven into another story, that of a history of cultural ‘decline’, from a supposed heyday as a great Victorian city to a provincial cultural centre. The writer W.G. Sebald, who taught at Manchester University for two years in the 1960s, participates in this story, in his semi-fictional account of the artist ‘Max Ferber’. Ferber tells the narrator about his arrival in Manchester in 1945, descending on foot after walking

in Culture in Manchester
Public and private negotiations of urban space in Manchester
Michael Atkins

this, the devastating impact of the IRA bomb on 15 June 1996 led to a massive injection of cash from the European Union in order to regenerate the city centre. Taylor, et al. (1996) identify how the notions of Mancunian cultural entrepreneurship transcended certain boundaries of social class: The dominant image of the Mancunian of the 1990s, of the street-wise ‘scally’ (scallywag) doing business across the world or profiting from local initiatives in the entertainment business (the pop groups of the 1980s ‘Madchester’ or the Olympic bid in 1992), we would argue is no

in Realising the city
Englishness, pop and The Smiths
Kari Kallioniemi

, he is condemned to live out its pantomime forever.’46 CAMPBELL PRINT.indd 234 21/09/2010 11:25 Kari Kallioniemi 235 The Smiths and pop-Englishness since the 1980s This tragedy became more obvious as The Smiths split and the late 1980s gave rise to the Second Summer of Love that in turn gave way to the Madchester boom of the early 1990s and the Britpop moment of the mid-1990s. At the same time, the Anglo-American rock era and its literary forms of English pop were increasingly challenged by dance and multicultural forms of pop music. Morrissey’s antipathy

in Why pamper life's complexities?
Mapping post-alternative comedy
Leon Hunt

embodied. Thatcher appeared to polarize popular culture – John Harris detects a similar cultural split in pop music to that in comedy in the opposition between the political pop of Billy Bragg, Paul Weller, movements like Red Wedge and Rock Against Racism and what he sees as the Thatcherite ethos of wealth and consumption represented by bands like Duran Duran (Ibid.: 4). By the early 1990s, pop subcultures, too, seemed to be more apolitical, like the ‘Acid House’ scene that emerged in 1987, the year of Thatcher’s third election victory, and the ‘Madchester’ scene of the

in Cult British TV comedy
Abstract only
Nick Crossley

after punk, from the Merseybeat to heavy rock (in Birmingham and its surrounds), Northern Soul to Madchester, demonstrates that the cultural dominance of the capital is not a prerequisite for the formation of such networks. In the case of punk, however, a networked critical mass of proto-punks did assemble first in London, and that is why punk first emerged in the capital. I have only been able to support this contention by comparing the network structure binding London’s critical mass of punk pioneers, at the time when punk was beginning to take shape, with the

in Networks of sound, style and subversion
Abstract only
Manchester: seeing like a city
Paul Dobraszczyk and Sarah Butler

its 1 Manchester: Something rich and strange more recent rich cultural history (the music and nightlife of the Madchester period). Others’ loyalty centres on the city’s enduring sporting prowess, the ever-changing fortunes of the Reds and Blues. And all who choose to call this city home find themselves becoming attached to its people, its buildings, even its characteristic grey skies and wet cobbles. Whenever we return to Manchester, we feel that sense of homecoming, a flood of memories that are wedded to the fabric of the city itself – in the words of Elbow

in Manchester