|Fulltext||0.05 MB||PDF (requires Acrobat Reader)||Previous | Next|
|Authors:||Giacomo Bottà: Department of Social Policy, University of Helsinki, Finland|
|Publication title:||Pop Music, Cultural Sensibilities and Places: Manchester 1976–1997|
|Conference:||The ESF-LiU Conference Cities and Media: Cultural Perspectives on Urban Identities in a Mediatized World Vadstena, Sweden, 25–29 October, 2006|
|Publication type:||Abstract and Fulltext|
|Abstract:||This paper’s claim is that popular music is able to implement places in powerful ways, forming new modalities to conceive and perceive them.|
This is the result of a layering: popular music mediates places as textscapes, soundscapes and landscapes. Song lyrics referring to places make up a band’s textscape. The use of local music tradition, vernacular or typical city noises constitute a band’s soundscape. Finally, the landscape consists of all the visual elements (e.g. covers) referring to the same particular locality. Turning to the regeneration level, it seems important to note that music in itself is ethereal, but its production, circulation and fruition rely on material factors located in cities.
This kind of implementation on the representational and regeneration level could be analysed in Manchester. Since the late 1970s, the local popular music scene has adopted a particular ’cultural sensibility’. Bands such as The Smiths, The Fall, and Joy Division were able to root their poetics in the city, offering a chance to re-imagine it. In the same period, the independent music entrepreneur Tony Wilson developed The Haçienda FAC 51, which set the trend for the regeneration of a whole district. This case represents a convincing example of a cultural innovation, which relies on redefining the symbolic value of the city’s architectural and social past.
|No. of pages:||5|
|Series:||Linköping Electronic Conference Proceedings|
|Publisher:||Linköping University Electronic Press, Linköpings universitet|
|REFERENCE TO THIS PAGE |