By Stuart Laycock
Out of 193 nations presently known via the UN, we've invaded 158. That's an awesome 82%! Azerbaijan received this year's Eurovision. Don't comprehend the place it's? you want to, simply because we invaded it for its oil virtually 100 years in the past. each summer season, hordes of British travelers now invade Corfu and the opposite Ionian islands. learn the way we first invaded them armed with cannon rather than cameras and arrange the U.S. of the Ionian Islands. A Scottish invasion of primary the United States helped bankrupt Scotland and force it into union with England. You'll have heard of the yank warfare in Vietnam, and even perhaps the French conflict, yet what have you learnt concerning the British invasion of Vietnam? This publication illustrates what a really awe-inspiring energy, for undesirable and for stable, our nation has been correct internationally. lots of people are vaguely conscious area of the globe was red, yet that's now not even part the tale. We're a stroppy, dynamic, irrepressible country and this is often how we...
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Additional resources for All the Countries We've Ever Invaded: And the Few We Never Got Round To
Though not put forward here as a ‘universal’ theory, it is arguable that aspects of these findings will have resonance in other national contexts (for example McLaughlin and McLoone, 2000). The idea of authenticity as an articulating principle in the interface of global and national identities will be revisited towards the end of this chapter. Multinational interests. Multinational music industries can also become involved in the formation of ‘national’ music styles. Homan (2000) describes how the interests of multinational recording companies had both empowering and constraining influences on the Sydney rock scene during the 1980s.
This national–global dialectic is not new to music production and consumption. For example, Adorno interpreted the ‘national’ music of some nineteenth- and early twentieth-century classical composers as an early form of global capitalism through which process ‘the qualitative differences between peoples … came to be transformed into commodity brands on the world market’ (1976: 163). Modernist and postcolonial critiques of nationalist ideologies have highlighted the problems of essentialism and homogenization that are inherent to extreme forms of cultural nationalism (Smith, 1991; Hutchinson and Smith, 1994; Miller, 1995).
In 1996, for example, Enrique Morente, with the Spanish alternative rock band Lagartija Nick, produced the extraordinary album Omega. The first (and title) track of the album lasts some ten minutes and combines words by Spanish author Federico García Lorca (‘Omega, poema para muertos’ [‘Omega, poem for the dead’] from the 1936 collection Poemas sueltos), Morente’s fabulous voice and the full resources of the band. It seems to conjure up a liminal ‘interspace’ between a historicized imagination of flamenco and the rock sensibility, which no doubt many contemporary commentators would articulate ‘simply’ as an example of musical hybridity.