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.

While the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes, and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy. In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal's self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies.

Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos-a notoriously evasive and multifaceted beast-offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk's historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices.

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.

Originally published in 1995. This book's collection of key essays presents a coherent overview of touchstone statements and issues in the study of Anglo-American popular ballad traditions and suggests ways this panoramic view affords us a look at Euro-American scholarship's questions, concerns and methods. The study of ballads in English began early in the eighteenth century with Joseph Addison's discussions which marked the onset of an aesthetic and scholarly interest in popular traditions. Therefore the collection begins with him and then chronologically includes scholars whose views mark pivotal moments which taken together tell a story that does not emerge through an examination of the ballads themselves. The book addresses debates in tradition, orality, performance and community as well as national genealogies and connections to contexts. Each selected piece is pre-empted by an introductory section on its importance and relevance.

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.

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.

'The truest measure of the man we have thus far' - Mojo 'Affectionate, impeccably researched biography' - Mail on Sunday 'Head and shoulders above the usual rock hagiography' - Sunday Telegraph The first biography to be written with the cooperation of the Lynott Estate, Cowboy Song is the definitive authorised account of the extraordinary life and career of Thin Lizzy guiding spirit, Philip Lynott. Leading music writer Graeme Thomson explores the fascinating contradictions between Lynott's unbridled rock star excesses and the shy, sensitive 'orphan' raised in working class Dublin. The mixed-race child of a Catholic teenager and a Guyanese stowaway, Lynott rose above daunting obstacles and wounding abandonments to become Ireland's first rock star. Cowboy Song examines his key musical alliances as well as the unique blend of cultural influences which informed Lynott's writing, connecting Ireland's rich reserves of music, myth and poetry to hard rock, progressive folk, punk, soul and New Wave. Published on the thirtieth anniversary of Lynott's death in January 1986, Thomson draws on scores of exclusive interviews with family, friends, band mates and collaborators. Cowboy Song is both the ultimate depiction of a multi-faceted rock icon, and an intimate portrait of a much-loved father, son and husband.

As West Africa's oldest form of popular music, Highlife was the soundtrack of the independence era and its influence still resonates widely today. Highlife Giants is an intimate portrait of the pioneering artistes of West Africa's vibrant music scene from the 1920s onwards. It is packed full of inside information from interviews with stars including E.T Mensah, Kofo Ghanaba, Bobby Benson and Ignace De Souza, revealing priceless behind-the-scene moments such as Louis Armstrong giving Eddie Okonta a trumpet with a golden mouthpiece after seeing him perform. Together with an illuminating account of Highlife's instruments, rhythms and influences, Highlife Giants comprehensively charts the development of this rich and varied popular music, which has come to influence contemporary West African music such as Afrobeat and hiplife. Highlife remains crucial in generating social commentary and protest, and contributing to the consolidation of a pan-African musical identity. This book will enthrall readers wishing to delve into the rich musical history of West Africa.

Toward a Chican@ Hip Hop Anti-Colonialism makes visible the anti-colonial, alterNative politics in hip hop texts created by Chican@s and Xican@s (indigenous-identified people of Mexican descent in the United States). McFarland builds on indigenous knowledge, anarchism, and transnational feminism to identify the emancipating power of Chican@ and Xican@ hip hop, including how women and non-gender conforming (two-spirit) MCs open up inclusive alterNative spaces that challenge colonialism and capitalism.

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.

There was a small sliver of time between Be-Bop and Hip-Hop, when a new generation of teenagers created rock 'n' roll. Clay Cole was one of those teenagers he was the host of his own Saturday night, pop music television show.

Clay Cole's SH-BOOM! is the pop culture chronicle of that exciting time, 1953-1968, when teenagers created their own music, from swing bands and pop to rhythm and blues, cover records, a cappella, rockabilly, folk-rock, and girl groups; from the British Invasion to the creation of the American Boy Band. He was first to introduce Chubby Checker performing the "Twist;" the first to present the Rolling Stones, Tony Orlando, Dionne Warwick, Neil Diamond, Bobby Vinton, the Rascals, Ronettes, Four Seasons, Dion, and dozens more; the first to introduce music video clips, discotheque, go-go girls and young unknown standup comedians Richard Pryor, George Carlin, and Fannie Flagg to a teenage television audience.

Think Woodstock and the mind turns to the seminal 1969 festival that crowned a seismic decade of sex, drugs, and rock 'n' roll. But the town of Woodstock, New York, the original planned venue of the concert, is located over 60 miles from the site to which the fabled half a million flocked. Long before the landmark music festival usurped the name, Woodstock--the tiny Catskills town where Bob Dylan holed up after his infamous 1966 motorcycle accident--was already a key location in the '60s rock landscape. Drawing on numerous first-hand interviews with the remaining key players in the scene--and on the period when he lived there himself in the 1990s--Hoskyns has produced an East Coast companion to his bestselling L.A. canyon classic Hotel California. This is a richly absorbing study of a vital music scene in a revolutionary time and place.

Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption. The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life. The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways. Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes. Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today. As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

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.

This interdisciplinary volume enters the scholarly conversation about Bruce Springsteen at the moment when he has reinforced his status of global superstar and achieved the status of social critic. Covering musical and cultural developments, chapters primarily consider work Springsteen has released since 9/11-that is, released during a period of continued global unrest, economic upheaval, and social change-under the headings Politics, Fear and Society; Gender and Sexual Identity; and Toward a Rhetoric of Springsteen. The collection engages Springsteen and popular music as his contemporary work is just beginning to be understood in terms of its impact on popular culture and music, applying new areas of inquiry to Springsteen and putting Springsteen fan writing within the same binding as academic writing to show how together they create a more nuanced understanding of an artist. Established and emerging Springsteen scholars approach work from disciplines including rhetoric and composition, historical musicology, labor studies, American history, literature, communications, sociology, theology, and government. Offering context, critique, and expansive understanding of Springsteen and his work, this book contributes to Springsteen scholarship and the study of popular music by showing Springsteen's broadening academic appeal as well as his escalating legacy on new musicians, social consciousness, and contemporary culture.

Follow their incredible journey from students when the band formed in Cambridge in 1965 and consisted of Syd Barrett, Nick Mason, Roger Waters, Richard Wright with Dave Gilmour joining in 1967. Syd Barrett left in 1968 but remains synonymous with the group. Pink Floyd rose to become the most commercially successful and musically influential group in the history of popular music.

Travis Barker's soul-baring memoir chronicles the highlights and lowlights of the renowned drummer's art and his life, including the harrowing plane crash that nearly killed him and his traumatic road to recovery-a fascinating never-before-told-in-full story of personal reinvention grounded in musical salvation and fatherhood. After breaking out as the acclaimed drummer of the multiplatinum punk band Blink-182, everything changed for Travis Barker. But the dark side of rock stardom took its toll: his marriage, chronicled for an MTV reality show, fell apart. Constant touring concealed a serious drug addiction. A reckoning did not truly come until he was forced to face mortality: His life nearly ended in a horrifying plane crash, and then his close friend, collaborator, and fellow crash survivor DJ AM died of an overdose. In this blunt, driving memoir, Barker ruminates on rock stardom, fatherhood, death, loss, and redemption, sharing stories shaped by decades' worth of hard-earned insights. His pulsating memoir is as energetic as his acclaimed beats. It brings to a close the first chapters of a well-lived life, inspiring readers to follow the rhythms of their own hearts and find meaning in their lives.

Most priests take confessions. This one is giving his. 'Rob Halford has written one of the most candid and surprising memoirs of the year. . . Confess is a riproaring tale, a funny, often shocking and genuinely emotional story' The Telegraph 'The Metal God shares stories from a life like no other, spending over 50 years in the heavy metal bubble, facing adversity head-on but always with a wry smile and horns held firmly aloft' Kerrang 'Raw and searingly moving, Confess will delight metal heads and music fans alike' GQ 'A unique and deeply revealing insight into the extraordinary life he has led' Metal Talk Rob Halford, front man of global iconic metal band Judas Priest, is a true 'Metal God'. Raised in Britain's hard-working heavy industrial heartland he and his music were forged in the Black Country. CONFESS, his full autobiography, is an unforgettable rock 'n' roll story - a journey from a Walsall council estate to musical fame via alcoholism, addiction, police cells, ill-starred sexual trysts and bleak personal tragedy, through to rehab, coming out, redemption... and finding love. Now, he is telling his gospel truth. Told with Halford's trademark self-deprecating, deadpan Black Country humour, CONFESS is the story of an extraordinary five decades in the music industry. It is also the tale of unlikely encounters with everybody from Superman to Andy Warhol, Madonna, Jack Nicholson and the Queen. More than anything else, it's a celebration of the fire and power of heavy metal. Rob Halford has decided to Confess. Because it's good for the soul.

This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.

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.

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.

The punk band D.O.A., established in 1978, is considered one of the founders of hardcore punk, alongside such other seminal groups as Black Flag and Minor Threat. Their raw, melodic sound, which drew comparisons to The Clash and The Ramones, has always been matched by the band's acute political sensibility. Known for its uncompromising and outspoken anarchist viewpoints, D.O.A. has been active on behalf of many issues, including anti-racism, anti-globalization, freedom of speech, women's rights, and the environment. Its slogan, "Talk - Action = 0," refers to the importance of artists and others who need to "walk the walk" when it comes to their politics.

After more than thirty years, D.O.A. remains as active as ever, touring internationally (including a trip to China, the first punk band to do so) and recording regularly (their thirteenth studio album was released in 2010); their fan base now spans three generations. This large-format book is a sprawling visual history of the group by lead singer and guitarist Joe Keithley--made up of vintage photographs, posters, handwritten lyrics, and other various ephemera--that offers a visceral glimpse into the hardcore life of one of the hardest-working punk bands in the business.

Joe Keithley is the founder of D.O.A. His autobiography "I, Shithead: A Life in Punk" was published by Arsenal Pulp Press in 2003; now in its third printing, it has been translated into French, German, and Italian.

Flamenco Music and National Identity in Spain explores the efforts of the current government in southern Spain to establish flamenco music as a significant patrimonial symbol and marker of cultural identity. Further, it aims to demonstrate that these Andalusian efforts form part of the ambitious project of rethinking the nation-state of Spain, and of reconsidering the nature of national identity. A salient theme in this book is that the development of notions of style and identity are mediated by social institutions. Specifically, the book documents the development of flamenco's musical style by tracing the genre's development, between 1880 and 1980, and demonstrating the manner in which the now conventional characterization of the flamenco style was mediated by krausist, modernist, and journalist institutions. Just as importantly, it identifies two recent institutional forces, that of audio recording and cinema, that promote a concept of musical style that sharply contrasts with the conventional notion. By emphasizing the importance of forward-looking notions of style and identity, Flamenco Music and National Identity in Spain makes a strong case for advancing the Spanish experiment in nation-building, but also for re-thinking nationalism and cultural identity on a global scale.