Publics and the City investigates struggles over the making of urban publics; considering how the production; management and regulation of lsquo;public spacesrsquo; has emerged as a problem for both urban politics and urban theory.Advances a new framework for considering the diverse spatialities of publicness in relation to the city Argues that a cityrsquo;s contribution to the making of publics goes beyond the provision of places for public gathering Examines a series of detailed case studies Looks at the relationship between urbanism; public spheres; and democracy
2013-10-31 2013-10-31File Name: B00GDC7SMC
Review
0 of 1 people found the following review helpful. Five StarsBy Brian LuckExcellent.0 of 0 people found the following review helpful. SMALL IN STATURE; BUT A HUGE INFLUENCE ON MUSIC AND THE POPULAR THEATREBy Barry McCannaI thought I knew quite a lot about Jack Hylton; but reading this biography I learned an awful lot more. He was a self-made man; more in the spirit of the New World (which he managed eventually to visit; despite all the obstacles put in his path) than that of the grim industrial north of the turn of the twentieth century. Pete Faint has done a sterling job of chronicling his life; and setting his achievements in the context of the period. If at times his account reads like an itinerary; thats because it was; and one can only salute not only Jack; but also the members of his band; who toured not just the length and breadth of the British Isles; but also the continent; where he was hugely popular. It seems ironic that he was decorated twice in France; but never by Great Britain. This probably had to do with his complex personal life; an outline of which is provided; which stays the right side of discretion.My interest relates more to Hyltons bandleading and recording activities; but he had an overlapping career as an impresario; which is plotted quite exhaustively. He arranged for Duke Ellington to visit and tour; and was involved later with both Coleman Hawkins and Louis Armstrong; although despite the impression given the two jazz stars never toured together. Theres a curious assertion about the circumstances of Glenn Millers death; on which the jury has yet to return. And the story about Peter OToole is quite certainly apochryphal; because his alleged discovery by David Lean in mid-1957 would have predated his casting as Lawrence of Arabia by some five years; and nor was he the first choice.The main section of the book runs to 272 pages; the chronological narrative being interspersed by chapters on Symphonic Syncopation (Hyltons description of his music; which mirrors the efforts of Whiteman and others to render jazz and dance music respectable); the Rival Bands; the Boys in the Band; the Impresarios; and Jack Hylton Juke Boxes. Theres also a fascinating chapter on Hyltons involvement with Stravinsky; which led to a segment of the latters music being arranged for the band; in a complex score which proved too difficult for Jack to conduct; and was never seen again! I wish that the photographs had been reproduced more clearly; and that there had been more of them.Thats followed by eleven pages of notes which for the most part refer to sources consulted; and would have been more accessible as footnotes. Pages 285 to 351 comprise a complete discography in date order (but omitting matrix numbers) of all Hyltons recordings from mid-1921 to March 1940. A Bibliography and Index complete the work; which is set in clear type;To sum up; this is a scholarly but eminently readable book; which should be an indispensable purchase for anyone interested in the dance band era; or the development of the popular theatre.