Charles Rennie Mackintosh left an exceptional body of work across arts, architecture and interior design. He was someone who was very much of his time – but who was also looking to the future through his work, and who has remained enduringly popular.
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These are important questions that human beings have been asking for centuries - which is why it makes good sense to study what was written long ago if you are looking for some answers.
Read more about How to be a good person: the importance of learning from the classics
Because I Am A Girl (Blue)
In 2015, the team behind Femme Fierce (the World's Largest All Female Graffiti Street Festival) worked with Women of the World (WOW) and Plan International UK to create a series of murals against forced marriage. This project was part of Plan International’s worldwide campaign ‘Because I am a Girl’.
Country: United Kingdom.
Rights: Image courtesy of Rob Wilson Jnr from Inspiring City.
Find out more by visiting http://rightsandjustice.nottingham.ac.uk/items/show/224
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In 1927 the Musicians’ Union was active on several fronts to support members’ interests. It resisted reductions in pay following the General Strike and fought against harsh conditions of service when, for example, some cinema owners insisted their orchestras play seven days a week. However, to achieve its aims, the Union needed sufficient income to employ officials and organise members; but those very members resisted moves to raise the subscription.
Read more about The Musicians' Journal, No. 26 (October 1927)
The competition that civilian musicians faced from military bands in public parks and seaside resorts increased in the summer months. A year later, in the summer of 1929, however, this would seem a less menacing challenge than the rush by many exhibitors to install pre-recorded sound in their cinemas.
Read more about The Musicians’ Journal, No. 29 (July 1928)
In cinemas, the Panatrope was a two-turntable gramophone with amplified output which allowed operators to play a pre-recorded soundtrack for silent films. Like the more satisfactory systems that reproduced sound recorded on film (represented here by the American salesman, frame right), it threatened the livelihoods of musicians who accompanied films in cinemas. A related article attacked the technology being introduced in Britain and claimed that "the public cannot live on 'canned' music all the time any more than on canned pork."
Read more about The Musicians’ Journal, No. 30 (October 1928)
This front-cover image entitled, “The Key To The Situation” directed musicians to an article advising them to join the Musical Performers Protection Association. However, the company was to fail in its objectives of collecting fees from recorded music. Nor did it reverse the takeover by sound films. Although too few talkies were produced in 1929-30 to fill cinemas’ programmes completely, the studios persuaded owners to meet the cost of conversion by focusing on the prospect of increased takings and cutting out musicians’ wages.
Read more about The Musicians Journal, New Series 1 (April 1929)
“Keep Blowing Boys.” This cover image introduced an article designed to raise players’ morale. The piece argued that the failings of talkies were so obtrusive that the fad could not last. For example, it alleged, someone other than the actor has to do the talking. For that reason the actor works with his or her back to camera to conceal the fact that the voice and the movement of the performer’s lips do not synchronise.
Read more about The Musicians’ Journal, New Series 2 (July 1929)
Reflecting the accelerating pace of converting cinemas for sound, this cartoon’s prediction for 1930 relied on a counterattack that instrumentalists thought incontrovertible. In October 1929, few filmgoers would have disagreed that the quality of mechanical sound reproduction was far inferior to live music. But the riposte sidestepped two key facts: sound systems were improving fast and, more significantly, that autumn British audiences, no matter the music’s quality, were flocking to the latest sensation, the talkies.
Read more about The Musicians’ Journal, New Series 3 (October 1929)
The vision of orchestras returning to cinemas arose when the Union recognised filmgoers’ continuing appetite (despite improvements in sound reproduction) for hearing live music as part of the programme. Kine-Variety revived Victorian music hall and vaudeville formulas, programming live orchestras and performers alongside talkie feature films. Unhappily, few Musicians’ Union writers recognised that in the Depression era this was exclusively a big-city phenomenon. Only in picture palaces were well-to-do audiences and holidaymakers paying the high prices for these top-class shows.
Read more about Musicians’ Union Monthly Report, New Series 3 (March 1930)