Patrick Glen

Profile

I joined the University of Leeds as a Teaching Fellow in Cultural Industries in January 2020. In January 2023, I was promoted to Lecturer in Cultural Industries.

I obtained my PhD in History from the University of Sheffield in 2013 before undertaking postdoctoral appointments in History at University College London (2015 and 2017) and the University of Wolverhampton (2018). I have also been a Visiting Lecturer in Music at the University of Salford.

I am a musician signed to a DIY label and I have played in several bands who have been featured in international press, radio and have appeared live in session on BBC6 Music. I have published journalism on music and culture in publications including the Guardian, Loud & Quiet and Tribune.

Responsibilities

• Opportunities and Students Futures Lead

Research interests

My research considers the relationship between institutions in the cultural industries (particularly the music industry) respond to, represent and perhaps even contribute to broader processes of political, cultural and social change. Published by Palgrave Macmillan as part of their Subcultures, Popular Music and Social Change Series in 2019, my first book Permissive Social Change and Youth in the British Music Press, 1967–1983, for instance, is the first scholarly history of the music press that locates journalists and editors, music papers and their readers within broader debates about youth culture, the cultural industries and ‘permissiveness’.

My second book, Pop, Politics and Moral Panics: Music Festivals and British Society, 1968-76 will be published by Manchester University Press in 2027. The monograph considers the pop music festival in Britain from 1968 and analyses the subsequent moral panics, political discussions and attempts to regulate and control such festivals up to 1976. Outdoor pop festivals—particularly the Isle of Wight Festivals of 1969 and 1970—caught the attention of the British public, politicians and media sparking controversy over their implications, social and political meaning, and even their existence. To some, festivals were where the ‘permissive’ 1960s and countercultural politics could be experienced and lived. However, voices on the right—including Conservative councillors and Monday Club MPs—saw festivals as a threat to the ‘British way of life’ (alongside non-white immigration, Irish Republicanism and communism). This led to clashes over how music festivals should be regulated that illuminated conflicts within the entertainment industry as well as between right and left, youth and their elders—tensions that continue to resonate today.

I have previously researched the history of British cinema-going in the 1960s and published journal articles that consider cinema-going in relation to youth, counterculture and social change.

Qualifications

• PhD History
• MA Twentieth Century British Cultural History
• BA (Hons) History & Politics

Professional memberships

• Subcultures Network
• Social History Society

Student education

I teach and have taught modules concerning theoretical approaches to culture and creativity; popular music and the music industries; social and cultural history of British popular culture; audience research; festivals; arts and activism; cultural policy; research methods; the cultural industries; and collaborative performance.

I am happy to supervise PhD researchers working on themes relevant to the cultural industries, media, the arts, culture and society and particularly those that take an historical perspective on the cultural industries.

PhD students:

Naomi Burnley