The political has always been part of popular music, but how does that play out in today's musical and political landscape? Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century provides an innovative exploration of the complex politics of popular music in its contemporary formations. Amid the shifting paradigms of power in the 2020s, the chapters in this book go beyond the idea of popular music as protest to explore how resistance, subversion, containment, and reconciliation all interact in the popular music realm. Covering a wide range of international artists and genres, from South African hip-hop to Polish punk, and addressing topics such as climate change and environmentalism, feminism, diasporic identity, political parties, music-making as labour, the far right, conservatism and nostalgia, and civic engagement, the contributors expand our understanding of how popular music is political. For students and scholars of music, popular culture, and politics, the volume offers a broad, exciting snapshot of the latest scholarship on contemporary popular music and politics.

Following their first tour to Japan in 1966, the Beatles would become an important part of Japan's postwar cultural development and its deepening relationship with the West. By the 1960s Japan's dramatic rise in prosperity and the self-confidence of the country's 'economic miracle' period were yet to come; it was not, at this stage, considered a fully-fledged partner of the West. All these potential developments were consolidating around the time of the 1966 tour. The Beatles' concerts in Tokyo contributed to the construction of a new Japanese national identity and introduced Japan as a new potential market to UK and US music producers, broadening the country's transnational cultural links. This book explores the Beatles' engagement with Japan within the larger context of the country's increased global connection and large-scale economic, social and cultural change. It describes the great impact of the Beatles' contentious 1966 tour, which took place amid public displays of both euphoric 'Beatlemania' and angry protests, and discusses the lasting impression of this tour on Japanese culture and identity to the present day. The Beatles' relationship with Japan did not end after their departure; this book also examines the Beatles' subsequent contacts with Japan, including John Lennon's marriage and artistic partnership with Yoko Ono, and Paul McCartney's later Japanese tours and the warm reception the ex Beatles and their musical legacy have received over the years.

The Music Learning Profiles Project: Let's Take This Outside uses ethnographic techniques and modified case studies to profile musicians active in a wide range of musical contexts not typically found in traditional music education settings. The book illuminates diverse music learning practices in order to impact music education in classrooms. It goes on to describe the Music Learning Profiles Project, a group of scholars dedicated to developing techniques to explore music learning, which they call "flash study analysis." Twenty musicians were interviewed, invited to talk about what they do, how they learned to do it, and prompted to: Identify key learning experiences Discuss their involvement in formal learning environments Predict how they see musicking practices passing to a future generation The Music Learning Profiles Project offers a nuanced understanding of the myriad approaches to music learning that have emerged in the early part of the twenty-first century.

Winner of the NOBEL PRIZE in Literature 2016 For the first time, a comprehensive, definitive collection of lyrics of music legend and poet Bob Dylan. A major publishing event - a beautiful, comprehensive collection of the lyrics of Bob Dylan with artwork from thirty-three albums. As it was well put by Al Kooper (the man behind the organ on 'Like a Rolling Stone'), 'Bob is the equivalent of William Shakespeare. What Shakespeare did in his time, Bob does in his time.' Christopher Ricks, editor of T. S. Eliot, Samuel Beckett, Tennyson, and The Oxford Book of English Verse, has no argument with Mr. Kooper's assessment, and Dylan is attended to accordingly in this authoritative edition of his lyrics. In the words of Christopher Ricks: 'For fifty years, all the world has delighted in Bob Dylan's books of words and more than words: provocative, mysterious, touching, baffling, not-to-be-pinned-down, intriguing, and a reminder that genius is free to do as it chooses. And, again and again, these are not the words that he sings on the initially released albums.' This edition changes things, giving us the words from officially released studio and live recordings, as well as selected variant lyrics and revisions to these, recent revisions and retrospective ones; and, from the archives, words that, till now, have not been published. As set down, as sung, and as sung again.

In Tin Pan Alley we see the beginnings of the pop world as we now know it: commercial, constantly capturing, exploiting or even occasionally creating a public mood. The Alleymen were workers as much as artists. This book, first published in 1982, explores how the change occurred, the ways in which songwriters organised themselves to get greater control over their products, the social circumstances that influenced their choice of subject-matter, the new forms, such as the integrated musical, developed for maximum appeal, the vast publicity structure built to market the merchandise, and, of course, the many stars who came to fame by taking a walk down the Alley.

This collection of essays, first published in 1987, provides a sociological treatment of many musical forms - rock, jazz, classical - with special emphasis on the perspective of the practising musician. Among the topics covered are the legal structures governing musical production and the question of copyright; recording and production technology; the social character of musical style; and the impact of lyrical content, considered socially and historically.

Grunge, also known as the 'Seattle Sound', emerged from the Pacific north-west in the early part of the 1980s. With the unexpected success of Nirvana's single 'Smells Like Teen Spirit' in 1991, grunge became a household word overnight and launched an American music movement on a par with punk and hip-hop. In Everybody Loves Our Town , Mark Yarm draws from exclusive interviews to tell the whole story: the founding of originators like Soundgarden and the Melvins, the early successes of the Sub Pop record label, the rise of powerhouses Nirvana and Pearl Jam, the media hype, the suicide of Kurt Cobain, and finally, the genre's mid-to-late-nineties decline.

WHAT A STORY! WHAT A LIFE! A FASCINATING MEMOIR FROM A LEGENDARY MUSIC BUSINESS EXECUTIVE WHO…

Signed the little-known David Bowie…

Owned the Hunky Dory and Ziggy Stardust albums…

Looked after the The Rolling Stones…

Helped reorganise The Beatles' Apple Corp…

Worked with Mickie Most on The Animals, Herman's Hermits, Donovan, Jeff Beck, and Lulu…

Managed The Tremeloes, The New Seekers, and The Sweet…

Masterminded a landmark court case that disrupted music publishers exploiting songwriters including Elton John…

Started GTO Records, the company that signed Donna Summer, Billy Ocean, The Walker Brothers and Heatwave…

AND WHO…

Had dinner with John Lennon…

Tea with Colonel Parker…

Left Led Zeppelin's cash in a safe and lost the key…

Threw Rod Stewart out of his office…

Turned down chances to manage Queen and Andrea Bocelli…

Almost tempted Stevie Wonder away from Motown…

And foolishly allowed Iggy Pop to stay in his house!

WHO KNEW?

This book aims to revisit the notion of subculture for the 21st century, reinterpreting it and extending its scope. On the one hand, the notion of resistance is redefined and applied to contemporary practices of cultural production and entrepreneurship. On the other hand, contributors reconsider the connection of subcultures to everyday culture, exploring more mainstream forms of cultural production and consumption across a wider range of social groups. As a consequence, this book extends the scope to look beyond the white, male, adolescent, urban cultures identified with earlier subcultural studies. Contributors also examine fusions and crossovers between Western and non-Western cultural practices.

Originally published in 1977. The Travellers, from those living in bow-tents and horse-drawn caravans to those dwelling in motor caravans and permanent homes, are an important source of traditional music. Their society means that songs that have died out in more settled communities are preserved among them. Ewan MacColl and Peggy Seeger, widely known as two of the founding singers of the British and American folk revivals, here display a vast fund of folklore scholarship around the songs of British travelling people. Resulting from extensive collecting in southern and southeastern England and central and northeastern Scotland in the 1960s and 70s, this book contains 130 songs with music and comprehensive notes relating them to folkloristic and historical points of interest. It includes traditional ballads and ballads of broadside origin, bawdy, tragic and humorous songs about love, work and death. Most are in English or in Scots dialect with four in Anglo-Romani.

This is the first history of the harp in Scotland to be published. It sets out to trace the development of the instrument from its earliest appearance on the Pictish stones of the 8th century, to the present day. Describing the different harps played in the Highlands and the Lowlands of Scotland, the authors examine the literary and physical evidence for their use within the Royal Courts and "big houses" by professional harpers and aristocratic amateurs. They vividly follow the decline of the wire-strung clarsach from its links with the hereditary bards of the Highland chieftains to its disappearance in the 18th century, and the subsequent attempts at the revival of the small harp during the 19th and 20th centuries. The music played on the harp, and its links with the great families of Scotland are described. The authors present, in this book, material which has never before been brought to light, from unpublished documents, family papers and original manuscripts. They also make suggestions, based on their research, about the development and dissemination of the early Celtic harps and their music. This book, therefore, should be of great interest, not only to harp players but to historians, to all musicians in the fields of traditional and early music, and to any reader who recognises the importance of these beautiful instruments, and their music, throughout a thousand years of Scottish culture.

Originally published in 1973. Folk-life and folk-culture, usually the preserve of the scholar, have been brought vividly and entertainingly to life in these recollections and stories of one man's life in the Irish countryside. This book tells the life story of John Maguire, who died in 1975, including over 50 of the songs he sang, with full musical transcriptions. He was a fine singer, firmly within the Irish tradition, and his songs are the record of a people, their history and traditions, their joys and sufferings, their comedies and tragedies. John Maguire's fascinating story, skilfully and unobtrusively collated by Robin Morton, is full of material that will interest singers and students of folksongs. His songs and music will be of value to all those interested in traditional music and song.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than 'unofficial' versions of 'official' institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people - often enthusiasts - are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers' everyday interventions in the archiving and curating of popular music's material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

Twenty-First Century Musicals stakes a place for the musical in today's cinematic landscape, taking a look at leading contemporary shows from their stage origins to their big-screen adaptations. Each chapter offers a new perspective on a single musical, challenging populist narratives and exploring underlying narratives and sub-texts in depth. Themes of national identity; race, class and gender; the 'voice' and 'singing live' on film; authenticity; camp sensibilities; and the celebration of failure are addressed in a series of questions including: How does the film adaptation provide a different viewing experience from the stage version? What themes are highlighted in the film adaptation? What does the new casting bring to the work? Do camera angles dictate a different reading from the stage version? What is lost/gained in the process of adaptation to film? Re-interpreting the contemporary film musical as a compelling art form, Twenty-First Century Musicals is a must-read for any student or scholar keen to broaden their understanding of musical performance.

Technology and the Stylistic Evolution of the Jazz Bass traces the stylistic evolution of jazz from the bass player's perspective. Historical works to date have tended to pursue a 'top down' reading, one that emphasizes the influence of the treble instruments on the melodic and harmonic trajectory of jazz. This book augments that reading by examining the music's development from the bottom up. It re-contextualizes the bass and its role in the evolution of jazz (and by extension popular music in general) by situating it alongside emerging music technologies. The bass and its technological mediation are shown to have driven changes in jazz language and musical style, and even transformed creative hierarchies in ways that have been largely overlooked. The book's narrative is also informed by investigations into more commercial musical styles such as blues and rock, in order to assess how, and the degree to which, technological advances first deployed in these areas gradually became incorporated into general jazz praxis. Technology and the Jazz Bass reconciles technology more thoroughly into jazz historiography by detailing and evaluating those that are intrinsic to the instrument (including its eventual electrification) and those extrinsic to it (most notably evolving recording and digital technologies). The author illustrates how the implementation of these technologies has transformed the role of the bass in jazz, and with that, jazz music as an art form.

* Dismisses traditional, chronological format designed around European western canon to meets needs of today's ethnically diverse students, who identify their heritage as Asian, African, or Central American rather than European * Builds on a series of chapter-long theme-oriented narratives such as ethnicity, gender, spirituality, love, technology, that interweave the musical "here and now" * Focuses on how music creates and reflects social meaning in a variety of cultures and time periods. * Leads the student from music or ideas with which they are familiar to music that is unfamiliar, always through the connecting thread of the original social concept.

The endurance of Pink Floyd's The Dark Side of the Moon on the Billboard Top 100 Chart is legendary, and its continuing sales and ongoing radio airplay ensure its inclusion on almost every conceivable list of rock's greatest albums. This collection of essays provides indispensable studies of the monumental 1973 album from a variety of musical, cultural, literary and social perspectives. The development and change of the songs is considered closely, from the earliest recordings through to the live, filmed performance at London's Earls Court in 1994. The band became almost synonymous with audio-visual innovations, and the performances of the album at live shows were spectacular moments of mass-culture although Roger Waters himself spoke out against such mass spectacles. The band's stage performances of the album serve to illustrate the multifaceted and complicated relationship between modern culture and technology. The album is therefore placed within the context of developments in late 1960s/early 1970s popular music, with particular focus on the use of a variety of segues between tracks which give the album a multidimensional unity that is lacking in Pink Floyd's later concept albums. Beginning with 'Breathe' and culminating in 'Eclipse', a tonal and motivic coherence unifies the structure of this modern song cycle. The album is also considered in the light of modern day 'tribute' bands, with a discussion of the social groups who have the strongest response to the music being elaborated alongside the status of mediated representations and their relation to the 'real' Pink Floyd.

Black Popular Music in Britain Since 1945 provides the first broad scholarly discussion of this music since 1990. The book critically examines key moments in the history of black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s. While the book offers a history it also discusses the ways black musics in Britain have intersected with the politics of race and class, multiculturalism, gender and sexuality, and debates about media and technology. Contributors examine the impact of the local, the ways that black music in Birmingham, Bristol, Liverpool, Manchester and London evolved differently and how black popular music in Britain has always developed in complex interaction with the dominant British popular music tradition. This tradition has its own histories located in folk music, music hall and a constant engagement, since the nineteenth century, with American popular music, itself a dynamic mixing of African-American, Latin American and other musics. The ideas that run through various chapters form connecting narratives that challenge dominant understandings of black popular music in Britain and will be essential reading for those interested in Popular Music Studies, Black British Studies and Cultural Studies.

Known the world over for her unique musical style, distinctive look and a voice that propelled her into the charts time and time again, Dusty Springfield was undoubtedly one of the biggest and brightest musical stars of the twentieth century.Never one to be shy of the spotlight, Dusty broke the mould as the first female entertainer to publicly admit she was bisexual, and was famously deported from South Africa for refusing to play to segregated audiences during apartheid in 1964, just a year after the launch of her solo career.Combining brand-new material, meticulous research and frank interviews with friends, lovers, employees and confidants, journalist Karen Bartlett reveals sensational new details about the soul diva's unconventional upbringing, tumultuous relationships and unbridled addictions, including a lifelong struggle to come to terms with her sexuality.Named one of the Sunday Times's best musical biographies of 2014, this is the intimate portrait of an immensely complicated and talented woman - the definitive account of one of music's most legendary figures.

Since the 1980s, music videos have been everywhere, and today almost all of the most-viewed clips on YouTube are music videos. However, in academia, music videos do not currently share this popularity. Music Video After MTV gives music video its due academic credit by exploring the changing landscapes surrounding post-millennial music video. Across seven chapters, the book addresses core issues relating to the study of music videos, including the history, analysis, and audiovisual aesthetics of music videos. Moreover, the book is the first of its kind to truly address the recent changes following the digitization of music video, including its changing cycles of production, distribution and reception, the influence of music videos on other media, and the rise of new types of online music video. Approaching music videos from a composite theoretical framework, Music Video After MTV brings music video research up to speed in several areas: it offers the first account of the research history of music videos, the first truly audiovisual approach to music video studies and it presents numerous inspiring case studies, ranging from classics by Michel Gondry and Chris Cunningham to recent experimental and interactive videos that interrogate the very limits of music video.

One hundred and five bands. One hundred and twenty performances. Ten years.Award-winning festival Summer's End is now the longest-running celebration of progressive music in the UK. Festival founder Huw Lloyd-Jones and co-promoter Stephen Lambe take us through the venues, the line-ups and the various up-and-downs that have shaped this friendly event since its conception in 2005.Some of the biggest names in progressive rock music have played the festival's various stages at Gloucester, Bilston, Lydney and Chepstow, including Steve Hackett, Caravan, Gordon Giltrap, The Enid, Curved Air and It Bites. The festival has also been graced by some of the more recent legends of the genre with IQ, Pendragon and Pallas all making appearances, but the festival also actively supports new music, giving dozens of artists their first exposure to a large audience. Illustrated with 150 stunning full-colour pictures by photographer Chris Walkden and others, this is a delightful celebration of a much-loved fixture in the progressive rock calendar.

This book offers an in-depth study of the globalization of contemporary South Korean idol pop music, or K-Pop, visiting K-Pop and its multiple intersections with political, economic, and cultural formations and transformations. It provides detailed insights into the transformative process in and around the field of Korean pop music since the 1990s, which paved the way for the recent international rise of K-Pop and the Korean Wave. Fuhr examines the conditions and effects of transnational flows, asymmetrical power relations, and the role of the imaginary "other" in K-Pop production and consumption, relating them to the specific aesthetic dimensions and material conditions of K-Pop stars, songs, and videos. Further, the book reveals how K-Pop is deployed for strategies of national identity construction in connection with Korean cultural politics, with transnational music production circuits, and with the transnational mobility of immigrant pop idols. The volume argues that K-Pop is a highly productive cultural arena in which South Korea's globalizing and nationalizing forces and imaginations coincide, intermingle, and counteract with each other and in which the tension between both of these poles is played out musically, visually, and discursively. This book examines a vibrant example of contemporary popular music from the non-Anglophone world and provides deeper insight into the structure of popular music and the dynamics of cultural globalization through a combined set of ethnographic, musicological, and cultural analysis. Widening the regional scope of Western-dominated popular music studies and enhancing new areas of ethnomusicology, anthropology, and cultural studies, this book will also be of interest to those studying East Asian popular culture, music globalization, and popular music.

An alphabetical history of rock 'n' roll's most iconic band...the Grateful Dead. Featuring playful rhymes and glorious illustrations, The ABCs of the Grateful Dead celebrates the band's rich and dynamic history. Each letter of the alphabet highlights a significant moment, cultural contribution, or innovation along the band's journey, from their groundbreaking release of American Beauty to their pioneering Wall of Sound, from the beloved dancing bears to their singular community of tape traders. This delightfully kaleidoscopic look back on the Grateful Dead will entertain first-time readers as well as diehard fans of all ages. The Grateful Dead is a social and musical phenomenon that grew into a genuine American treasure. In 1965, an entire generation was linked together by common ideals, gathering by the hundreds and thousands. This movement created a seamless connection between the band and its fans. As the band toured, Dead Heads would follow. Not because it was a part of popular culture, but because it is a true counterculture that exists to this very day-one that earnestly believes in the value of its beliefs. By 1995, the Grateful Dead had attracted the most concert goers in the history of the music business, and today remain one of the all-time leaders in concert ticket sales. Eventually, the caravan evolved into a community with various artists, craftsmen and entrepreneurs supplying a growing demand for merchandise that connected them to the music. Today, the connection is as strong as ever. The band was inducted into the Rock & Roll Hall Of Fame in 1994 and received a Grammy (R) Lifetime Achievement Award in 2007. Their final tally of 2,318 total concerts remains a world record. The Grateful Dead recently celebrated their 53rd top 40 album on the Billboard chart, a feat no other group has achieved.

This autobiographical portrait of Tom Waits takes shape through a selection of more than 50 interviews. Starting with the first interview--on KPFK-FM's "Folkscene" in 1973--Waits speaks out on a variety of topics and shares something truly unique with his readers. In a rap that is a synthesis of inflections--Louis Armstrong, Charles Bukowski, Jack Kerouac, Mark Twain, hobo, pool hall attendant, vaudevillian huckster, musicologist par excellence, and a fresh slathering of the organic word-ooze of William S. Burroughs--Waits comes across as well read, informed, and lucidly aware of current pop culture. He delivers prose as crafted, poetic, potent, brilliant, and haunting as the lyrics of his best songs.