By John Rees, Lindsey German
Within the eyes of Britain's history undefined, London is the normal domestic of empire, monarchy and gear, an city wonderland for the privileged, the place nearly all of Londoners characteristic simply to applaud within the heritage.
Yet, for almost 2000 years, town has been a breeding flooring for radical principles, domestic to thinkers, heretics and rebels from John Wycliffe to Karl Marx. it's been the positioning of occasionally violent clashes that modified the process heritage: the Levellers' doomed fight for liberty within the aftermath of the Civil warfare; the silk weavers, fit ladies and dockers who crusaded for workers' rights; and the conflict of Cable highway, the place East Enders took on Oswald Mosley's Black Shirts.
"A People's historical past of London" trips to a urban of pamphleteers, agitators, exiles and revolutionaries, the place thousands of individuals have struggled in obscurity to safe a greater destiny.
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Within the eyes of Britain's historical past undefined, London is the normal domestic of empire, monarchy and tool, an city wonderland for the privileged, the place the majority of Londoners function in basic terms to applaud within the historical past.
Yet, for almost 2000 years, the town has been a breeding floor for radical rules, domestic to thinkers, heretics and rebels from John Wycliffe to Karl Marx. it's been the positioning of occasionally violent clashes that modified the process historical past: the Levellers' doomed fight for liberty within the aftermath of the Civil struggle; the silk weavers, fit ladies and dockers who crusaded for workers' rights; and the conflict of Cable road, the place East Enders took on Oswald Mosley's Black Shirts.
"A People's heritage of London" trips to a urban of pamphleteers, agitators, exiles and revolutionaries, the place hundreds of thousands of individuals have struggled in obscurity to safe a greater destiny.
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Extra resources for A People's History of London
There is an extensive literature of hybridity and power relations in popular music. See Gilroy (1993), Sharma, Hutnyk and Sharma (1996), Taylor (1997) and Hutnyk (2000). Discography Morente, Enrique and Lagartija Nick, Omega – Cantando a Federico García Lorca (El Europeo Música, Madrid, Spain, EEM 001, 1996). This page intentionally left blank PART I POSITIONS This page intentionally left blank Chapter 1 National Identity and Music in Transition: Issues of Authenticity in a Global Setting John O’Flynn In this chapter I argue that, far from being a redundant category, national identity continues to have significance in both the production and the consumption of music.
Even if we agree with the view that the ‘grand narrative’ of modern nationalism is on the wane, this analysis fails to offer alternative accounts of how the formation of musical identities may be related to culturally and/or politically bounded entities. It is a matter, then, of supplanting the narrow concept of (political) nationalism with a more flexible perspective on national identity that 20 Music, National Identity and the Politics of Location does not limit its purview to any one set of ideological and/or material contexts.
Once secured, it does not obliterate difference. (1996: 2–3) We can say, then, that although national identity is often imagined as ‘fixed’, in reality it comprises multiple identifications that arise from a plurality of social contexts and subject positions. Accordingly, the term ‘national identity and music’ can be understood as a general process by which individuals and groups may come to perceive, cognize and articulate associations between, on the one hand, specifically musical phenomena and, on the other hand, wider socio-cultural formations associated with national culture and/or the nation state.
A People's History of London by John Rees, Lindsey German