By Irene Morra
This e-book bargains a massive exploration of the social and cultural value of well known tune to modern celebrations of Britishness. instead of delivering a historical past of well known tune or an itemization of indigenous musical characteristics, it exposes the influential cultural and nationalist rhetoric round renowned song and the dissemination of that rhetoric in a number of varieties. because the Nineteen Sixties, renowned song has exceeded literature to turn into the dominant signifier of contemporary British tradition and id. This place has been enforced in pop culture, literature, information and tune media, political rhetoric -- and in a lot renowned track itself, which has turn into more and more self-conscious in regards to the expectation that track either articulate and take place the inherent values and identification of the fashionable state. This examine examines the consequences of such practices and some of the social and cultural values they build and implement. It identifies dominant, conflicting structures round well known tune: tune because the voice of an indigenous English ‘folk’, and tune because the voice of a re-emergent British Empire. those buildings should not purely contradictory but additionally particular, prescribing a social and musical id for the state that ignores its better inventive, nationwide, and cultural range. This booklet is the 1st to provide a complete critique of a very strong discourse in England that at the present time informs dominant formulations of English and British nationwide id, heritage, and culture.
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Additional info for Britishness, Popular Music, and National Identity: The Making of Modern Britain
In so doing, they come close to aligning British popular music with an essential folk identity. ” Hodgkinson had thought only of “exploring the geography of this island we happened to live on. ” 7 For others, however, such considerations are essential to any discussion of Britishness. A similar aﬁcionado of folk music, Billy Bragg has made it a dominant project of his music, writing, and public appearances to underline the apparent reality of a Britain that is “not a proper country”8 but an artiﬁcial union.
Recognizing that “one of the things that people—British people—loved about the show was being reminded of all the things that [they’re] really 26 Britishness, Popular Music, and National Identity brilliant at,” Boyce positions that pride in an international context: “we’re brilliant at children’s literature and we’re brilliant at health care. ” The opening ceremony (and the success of the Olympics overall) continued to be hailed months later as a glorious moment for a Britain hitherto beleaguered by its own pre-Olympics cynicism and an apparently endless future of economic austerity.
34 When musicians from Northern Ireland, Scotland, or Wales are perceived to be articulating a speciﬁc national identity, that language is inevitably 38 Britishness, Popular Music, and National Identity characterized as ‘other,’ speciﬁc to a nation peripheral to the deﬁ ning centre of Britain and Britishness. At times, that otherness manifests itself as an exotic distance from the deﬁning mainstream; at others, it is acknowledged in more hostile terms. ”36 With their indebtedness to (the emphatically Scottish) the Proclaimers, Scottish band Glasvegas apparently went about designing a “hit guitar band” the wrong way.