The look of Liam: bucket hats and Berghaus on the way back with Oasis | Oasis

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As Oasis fans wait on tenterhooks for tickets for the long-awaited reunion tour to go on sale on Saturday morning, brands are hitching their wagons to what will be a pivotal and lucrative pop culture moment, hoping to cash in on the excitement.

The tour next summer is likely to trigger a wave of merchandise endorsed by the band, experts say, although people wanting to match the Gallagher brothers’ style can probably look beyond official collaborations, given the resurgence of 90s fashion.

New Oasis merchandise is already out. Levi’s has launched a collection of band tees to celebrate 30 years of Definitely Maybe. Luxury streetwear brand Represent Clothing, founded in 2011 by the Mancunian brothers George and Mike Heaton, posted a picture of a collaboration T-shirt with the band.

And there would be plenty more where that came from, said Andrew Groves, a professor of fashion design at the University of Westminster. He said he imagined they had “been ironing out product tie-ins longer than they’ve been sorting out brotherly differences”. He expected “a tidal wave of collaborations”, name-checking brands such as Adidas Spezial, Berghaus and Umbro, as well as two that he wears so regularly that his students have started calling him professor coat: Stone Island, CP Company.

Oasis fans at Knebworth in 1996. Photograph: Hayley Madden/Shutterstock

But their look went beyond labels. Often lumped in with mod style, according to Graeme Campbell, a style writer and fan, it was “a little less mapped out than that”. Groves sees Oasis style as “the epitome of anti-art school. While rock stars like David Bowie, Bryan Ferry, Freddie Mercury, and Brian Eno treated their stage outfits like theatrical costumes, Oasis made no such distinction. What they wore on the street, they wore on stage. It’s just as calculated, but it struck a chord with other men who saw themselves being reflected back from the stage.”

The good news for those planning to cosplay as Liam, is that his style, by and large, is easily replicable. Kangol bucket hats, baggy Levi’s and parkas, all are readily available thanks to the resurgence of 90s fashions . Many already seem to be seeking inspiration online. Pinterest has seen increases for searches including “Britpop aesthetic”, “Noel Gallagher 90s” (+20%) and “Liam Gallagher 90s” (who wins this particular battle at +45%).

Parka life: Noel (left) and Liam Gallagher in 1996. Photograph: Dpa Picture Alliance/Alamy

The secondhand market makes it possible to buy into original pieces – and people are already looking. On Depop, searches for Oasis and Gallagher style items have increased by +863% since the tour was announced. According to a spokesperson for the resale site: “Oasis are set to inspire a return to a 60s-meets-90s casual aesthetic.”

But Campbell, who has written before about Britpop style, adds a note of caution: “Anyone can pick up a surplus parka or military coat, but they can’t wear it with the same ‘no-fucks-given’ attitude as Liam Gallagher does. This is a guy who thought nothing of walking out in front of a quarter of a million people at Knebworth in his girlfriend’s cable knit sweater.”

There will be practical considerations as well. According to Campbell, Oasis gigs are not for the faint of heart. “There are pints of all sorts being thrown about, it’s hot, you stand for hours, and then bounce when the band come on.” Heaton Park, where the band will play in Manchester, “is notorious for becoming a mud bath”, said Groves, a Manchester City season ticket holder. “It’ll be a brave person that wears their latest Adidas Spezials. I expect it will be a sea of bucket hats, Man City shirts, and rose-tinted glasses – literally and metaphorically.” Campbell plans to wear an old pair of trainers that he doesn’t mind getting dirty.

Can we expect to see Britpop-era looks studiously replicated? “The older fans are going to tread carefully – they’re hyper-aware of veering into ‘Dadsual’ or ‘Wellend’ territory,” said Groves, referring to the portmanteau of Paul Weller and bellend. “They’ll keep it subtle.”

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Liam Gallagher saluting the crowd at Knebworth. Photograph: Jeff Gilbert/Alamy

Younger fans, who weren’t around to see Britpop unfold first time around, are more likely to double down, according to Groves. “[They] will probably go all-in on the classic looks that made the band iconic: Umbro Cortez drill tops, Berghaus jackets and bucket hats.”

Some high-fashion influences may also be at play. The 24-year-old son of Liam, Lennon Gallagher, who recently starred in a campaign for Burberry, is likely to be in the crowd. Chanel is another luxury label with some claims on the band: when it chose to hold a show in Manchester last year, Noel Gallagher’s daughter, Anaïs, and Lennon were both in attendance. Campbell cites the influence of Britpop on contemporary brands, from Grace Wales Bonner’s collaboration with Adidas to streetwear labels such as Palace. “It will be interesting to see if those nostalgic 90s sensibilities feed into more upcoming collections following the news of the reunion,” he said.

Realistically, the crowd is likely to look quite different to the last time Oasis looked out from a stage, at V festival in 2009. The world had not yet fully succumbed to Swiftism, a cultural phenomenon that has changed what concertgoing looks like. With these gigs being called the “Eras tour for middle-aged men”, will the older crowd find their equivalent of swapping friendship bracelets? It will be interesting to see, but Campbell says he is not sure that would be in keeping with Oasis fans’ style.

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Vanishing Culture: On 78s | Internet Archive Blogs

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The following guest post from audio preservation expert George Blood is part of our Vanishing Culture series, highlighting the power and importance of preservation in our digital age.


On 78s

Thomas Edison produces the first machine that can record and playback sound in 1877. The flat disc is first patented in 1888. The concept is very simple: a sound wave is captured on the record as a physical wave in the disc, most often shellac (the shell of the lac beetle). Most discs spin at approximately 78 rpm, hence the name 78s. Other speeds, such as 80, 90 and 100 rpm are not uncommon. In addition to speed, the equalization and stylus size varies – either to improve the sound or to dodge someone else’s patent. In the 1950s they slowly give way to the LP or microgroove record, though in some parts of the world they remain common well into the 1960s.

Why is it important to preserve 78rpm discs?

The cultural record of the 20th century is different from all other periods of human history by the presence of audiovisual recordings. Prior to 1877, there was no way to record the sound of a nursery rhyme being read at bedtime, a musical or theatrical performance, or the world around us. During the ensuing 147 years, formats came and went as technology and preferences changed. Yet for nearly half that time, 78rpm discs were the way we learned about each other and entertained the world. It was a time when the world became a much smaller place. The invention of the automobile and the airplane, the expansion of the railroads, the telephone and radio, to the dawn of the space age, 78s were there. Through 78s, we could hear traditional music from Hawaii long before it was a state. American popular music – jazz, fox trot, big bands, even the Beatles – spread out across the globe, well ahead of Hollywood, and long before television. A thousand people might attend a concert, a theater performance, a speech, or a dramatic reading by Charles Dickens. With the 78, it became possible for those experiences to be shared and repeated, and spread far and wide, not once and done.

The period of 78s doesn’t just parallel other historical developments. The sounds on 78s document cultural norms, performance practices, tastes, and the interests of people who, after centuries of drudgery and lives spent in the fields and hard labor, finally had free time. My mother liked to remind me that nothing tells you more about a person than what makes them laugh. The comedy routines and lyrics give us a window into a time when groups of people were preyed upon, disparaged, and disrespected in stereotypes and bigotry, which shines a mirror on how we can still do better to our fellow beings. We hear the buoyant sounds of the roaring ‘20s, a happy, hopeful time, of liberation and greed. Music borne of the heavy hand of oppression and poverty that conveys gospel, blues, and gives us jazz—all quintessentially American. On 78s, we can hear and learn of the other peoples of the world: of ragas and gamalans, performers who do not traverse great oceans, the cultures of foreign lands we could only read about. We can feel the despondency of the Great Depression in the songs that empathize with the struggles of a nation. Through 78s we can hear firsthand accounts of the attack on Pearl Harbor, the angry, vile speeches of dictators, the songs that inspired a once divided nation to pull together in a common cause against evil, to fight for peace for our time, for days that will live in infamy. Bursting out of the war to end all wars, big bands, swing, then rock n’ roll. It makes one long to hear Bach play the organ, Mozart play the piano, Paganini play the violin, or Orpheus beg for the turn of Euridice, and know, that if we preserved these 78rpm recordings, future generations will understand our joys and pains, to have a window, through sound, into the arc of history, the slow advance of progress of the human condition.

To remember half of recorded history, it is important to preserve 78rpm discs.


About the author
George Blood is an expert in the audio and video preservation industry.

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Prom 49: Czech Philharmonic/Hrůša/Kobekina review – impassioned playing of Dvořák and less well known Suk | Proms 2024

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This is the Year of Czech Music, with major anniversaries for Smetana and Suk and round numbers for many other Czech composers falling in 2024. Not that the Czech Philharmonic should ever need an excuse for bringing its heritage on tour. The first of the orchestra’s pair of Proms – conducted by Jakub Hrůša, who takes over next year at the Royal Opera – balanced Dvořák’s Cello Concerto with something far less familiar: Suk’s Symphony No 2, named for Asrael, the angel of death. Suk began the work in mourning for Dvořák, his father-in-law and mentor; only months later his wife, Otilie, also died, and the devastated Suk completed the symphony as a double memorial.

It is an uncompromising work, shot through with grief in all its guises, yet Hrůša and his orchestra made it seem life-affirming. Suk’s music, richly textured, is almost cinematic in its evocative scope and in the way it creates a feeling of motion – or the opposite: in the second movement, it was the sense of constraint that was striking, the melodic line fidgety yet tethered above a relentless tick-tock on plucked strings. The second part of the symphony – the part written after Otilie’s death – brought passages that were wistful and heady with nostalgia, then a blistering dance topped by nightmarish E-flat clarinet. It was all movingly, powerfully played, and the hour-long work flew by.

Asrael was a better showcase for the orchestra than their slightly reticent performance of Dvořák’s Cello Concerto, in which even the wind soloists seemed happy to take a back seat rather than try to compete or duet with Anastasia Kobekina’s solo cello. Kobekina took to the spotlight with open, impassioned playing, her broad full sound complemented by an interior-sounding tone that projected equally well, yet the performance as a whole was rather episodic, and while the moment of hush before the final huge crescendo was magical, it didn’t seem to join up with the rest. Her encore was fun: a gallardo by her father, Vladimir Kobekin, based on a Renaissance tune – a whirling, foot-stomping dance for cello and tambourine.

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Share your reaction to the Oasis reunion | Oasis

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Fifteen years since their split, Oasis have announced they will reunite for a 14-date tour of the UK and Ireland in 2025.

The concerts will take place in July and August, at stadiums in Cardiff, London, Manchester, Edinburgh and Dublin. Tickets go on sale at 9am on 31 August, with prices to be revealed on the day.

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