All posts by ProfLRobinson

About ProfLRobinson

Does contemporary history, as contemporary as you can take it

Does my reflexivity embarrass you?

Lisa McKenzie and Me, WCSA conference Washington, being Reflexive
Lisa McKenzie and Me, WCSA conference Washington, being Reflexive

 

You can now access the open version of the online resource I produced for the history department at Sussex,  Reflexivity and History .  You should be able to log on as a guest.

This post is about teaching reflexivity, and indeed teaching reflexively. However, in the way that messy discussions in history spill into one another this is also in many ways a continuation of my response to the Modern British Studies conference at Birmingham. One of the things I’ve been thinking about a lot are the implications of what happens when we put our personal into our political (or professional).  I’ve warned about what I see as the dangers of over-investment, entitlement and exploitation in the last post.  But I do need to have a word with myself.  As a historian of identity I know that the self is a central part of my work, of all of our work.  But I want to suggest that we should accord the role of the self, and the implications of that, the same careful thought as we do with the rest of our work.  It is not enough to state our personal engagement, we need to think about what it means.

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Things are messy: Be Careful What You Wish For

I was going to write a blog about Twitter, and voice and collectively generated knowledge, but this came out instead.  It is a starting point, for thinking through #beforethedrugsrunout

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We’re Old and We are F**king Angry: Haunted by Post Post-Punk

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It probably says more about my life than theirs, but I seem to be haunted by old punks propping up the bar telling me stories about the Clash, or showing off their badge collection on ebay.  There’s certainly a lot of punk ghosts around – icons– Sid, Nancy, Rotten before he became farmer Lydon , and reunion bands are everywhere. But what are the ghosts for? And why are they following me round all the time?

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Press Release: An Anthem for the People’s Republic of Brighton and Hove

Contemporary historian Lucy Robinson has spent the last five year’s listening to, writing about and thinking about charity singles.  From Oxfam’s association with the Beatles in the 60s, to ‘Do they Know its Christmas?’ in all of its various incarnations, the charity single has turned fans into communities, and allowed over indulgent celebrities to show their caring side.  Now finally her work has come to life in a brand new charity single.  She has been volunteering her expertise as Minister for Nagging in the newly launched People’s Republic of Brighton and Hove.

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DIY Digital: First Steps to Selling Out

DIY Digital: Doing Punk Online grew out of the third year Special Subject History course ‘Post-Punk Britain’.

The course is in its second year and from the start, my co-tutor Chris Warne and myself, imagined it as an experiment in democratic teaching and learning.  We use the growth of academic work around subcultures and youth culture since 1976 to explore bigger questions around what it means to be a contemporary historian today.  This means that we look at local histories, archival practices, life history like memoirs, sound, image and moving images, and oral history alongside popular culture.  Although there has been a determined growth in academic work on subcultures in history, sociology, criminology, English studies and beyond, PPB puts these alongside other forms of history work outside of the formal universities.  We take the memories that people inherit, share and turn into stories as seriously as the academic theories around the politics of popular culture.

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How many historians does it take to start a cover band?

When we began the Brighton hub of Wellcome’s sexology and Song-writing project we imagined that the young women involved would undertake some sort of original research and then write songs about it. It quickly became clear that the young women participants and the youth work and music practitioners had some different priorities.  The practitioners wanted to concentrate on building a secure and supportive environment in which to build a collective group identity, and the young women wanted to sing songs that they already knew and liked.  The young sexology song-writers didn’t want to write songs.  They wanted to cover and recover them.  Once we recognised that the priorities of the practitioners and of the young women needed to be our priorities too, we moved towards their goals.  We weren’t training them to be researchers.  They were training us in their modes of re-enactment: an active and creative intervention in a cultural circuit that brought together the legitimacy of publicly celebrated singer-songwriters, with their own experiences and voices.

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#RIPZayn2K15 Thoughts on being The Hot One

I’ve spent a lot of the last five years living with One Direction. For a while, most conversations with my daughter involved The Boys in some way and a life size Harry Styles greets you from the front window of my house.

The Boys have even joined us on a picket line. They opened up the chance for me to work academically with one of my favourite people in the world, documentary maker Daisy Asquith who made the Channel 4 documentary Crazy About One Direction. Between the two of them my daughter and Daisy have helped me connect my feminism with my love of fandoms.

I have a lot to thank The Boys for.

https://vimeo.com/daisyasquith/crazyaboutonedirection

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Prizes for the Punks

Good News! Chris Warne and I have been awarded one of 6 Technology Enhanced Learning Innovation Scheme awards at the University of Sussex.  Our project is called DIY DIGITAL: Doing Punk Online.  The award is attached to our shared third year special subject course Post-Punk Britain.  The course is in its second year of delivery, and from the very first planning discussions that Chris and I had about setting up the course we wanted to explore free and open ways of taking the discussion out of the class room and really encouraging a DIY learning model.

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Top 5 Songs about Sex

I’ve been involved in the Brighton Hub of ‘Sexology and Songwriting’, a collaborative project that brings together academic researchers with songwriters and young people.  The workshops are attached to to Wellcome Collection’s sexology exhibition and inspired by the National Survey of Sexual Attitudes and Lifestyles (NATSAL III).   We got some additional funding from the Amy Winehouse Foundation.  The aim of the project is for the young people involved to become active researchers and song-writers, disseminating their research in the form of their own songs, performed locally and potentially included in recorded form at the Sexology exhibition in February 2015. The workshops are based at the Brighton Youth Centre and in the performances will be developed collaboration with Brighton Dome.

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Stitched up by Geldof: The Charity Single then and now

Charity singles were the perfect cultural form for Thatcher’s Eighties.  They were packaged and sold within the Victorian values of philanthropy but in a form that fitted well with new media opportunities, new media technology and new ‘yoof’ orientated broadcasting space.  Charity singles facilitated a set of donations; the primary donation was the time of musicians and celebrities, (and sometimes technicians and distributors) which may have included additional donations of royalties, rights and or all profits.

The secondary donation was by the consumer who bought the single regardless of their motivation; for the cause, for their favourite pop star, for the song, or for a combination thereof. Whatever Thatcher said about there being no such thing as society, and however many clips of champagne quaffing Yuppies we see on retro documentaries, in the Eighties people turned to charity to fill the gaps they saw opening up in social provision.  Charitable donation increased in Thatcher’s Britain, as did the number of charities and the number of ways of making a donation.[1]  Charity singles, like all parts of a charity campaign, were not just about raising money.  Charitable donation raises funds, but it also raises awareness about particular issues and builds a sense of community.  It builds a sense of the community for the donors, as well as an imagined community of worthy recipients. By the end of the Eighties these three functions produced a recognizable charity single formula; collective choruses, recognizable voices on individual lines, and ego-free co-operation between different generations of musicians.

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