In an era of the rise of the free market and economic globalization, Martin Cloonan examines why politicians and policymakers in the UK have sought to intervene in popular music - a field that has often been held up as the epitome of the free market form. Cloonan traces the development of government attitudes and policies towards popular music from the 1950s to the present, discovering the prominence of two overlapping concerns: public order and the political economy of music. Since the music industry began to lobby politicians, particularly on the issue of copyright in relation to the internet, an inherent tension has become apparent with economic rationale on one side, and Romantic notions of 'the artist' on the other. Cloonan examines the development of policy under New Labour; numerous reports which have charted the economics of the industry; the New Deal for Musicians scheme and the impact of devolution on music policy in Scotland. He makes the case for the inherently political nature of popular music and asserts that the development of popular music policies can only be understood in the context of an increasingly close working relationship between government and the cultural industries. In addition he argues that a rather myopic view of the music industries has meant that policy initiatives have lacked cohesion and have generally served the interests of multinational corporations rather than struggling musicians.

Joanna Newsom, Will Oldham (a.k.a. 'Bonnie Prince Billy'), and Devendra Banhart are perhaps the best known of a generation of independent artists who use elements of folk music in contexts that are far from traditional. These (and other) so called 'new folk' artists challenge our notions of 'finished product' through their recordings, intrinsically guided by practices and rhetoric inherited from punk. This book traces a fractured trajectory that includes Harry Smith's Anthology of American Folk Music, Bob Dylan, psych-folk of the sixties (from Vashti Bunyan to John Fahey), lo-fi and outsider recordings (from Captain Beefheart and The Residents to Jandek, Daniel Johnston and Smog), and recent experimental folk (Animal Collective, Six Organs of Admittance, Charalambides) to contextualise the first substantial consideration of new folk. In the process, Encarnacao reviews the literature on folk and punk to argue that tropes of authenticity, though constructions, carry considerable power in the creation and reception of recorded works. New approaches to music require new analytical tools, and through the analysis of some 50 albums, Encarnacao introduces the categories of labyrinth, immersive and montage forms. This book makes a compelling argument for a reconsideration of popular music history that highlights the eternal compulsion for spontaneous, imperfect and performative recorded artefacts.

The term 'flow' refers to experiences where the musician moves into a consciousness in which time seems to be suspended and perception of reality is blurred by unconscious forces. An essential part of the jazz tradition, which often serves as the foundation of the musician's identity, flow is recognised within the greater jazz community as a critical factor in accomplished musicianship. Flow as a concept is so deeply embedded in the scene that these experiences are not generally discussed. It contributes to the musicians' work motivation, providing a vital level of satisfaction and accomplishment. The power of the experience, consciously or unconsciously, has given rise to the creation of heroic images, in which jazz musicians are seen as being bold, yet vulnerable, strong and masculine, but still capable of expressing emotions. In this discourse, musicians are pictured as people constantly putting themselves on the line, exposing themselves and their hearts to one another as well as to the audience. Heroic profiles are richly constructed within the jazz scene, and their incorporation into narratives of flow suggests that such images are inseparable from jazz. It is thus unclear how far the musicians are simply reporting personal experience as opposed to unconsciously perpetuating a profoundly internalised mythology. Drawing on eighteen interviews conducted with professional jazz musicians from around the world, Elina HytAnen-Ng examines the fundamentals of the phenomenon of flow in jazz that has led to this genre's popularity. Furthermore, she draws on how flow experiences are viewed and constructed by jazz musicians, the meanings they attach to it, and the quality of music that it inspires.

The musical genre of taarab is played for entertainment at weddings and other festive occasions all along the Swahili Coast in East Africa. Taarab contains all the features of a typical 'Indian Ocean' music, combining influences from Egypt, the Arabian Peninsula, India and the West with local musical practices. In Taarab, Music in Zanzibar, Janet Topp Fargion traces the development of the genre in Zanzibar, from the late nineteenth century to the end of the twentieth. Of special interest is the role of women. Although men play the main role in the composition and performance of the genre, Topp Fargion argues that the modernization of the genre owes a debt to the participation of women - as audiences and primary consumers, but also as poets and innovators of musical concepts. The book weaves together the historical, social, economic, religious and political dynamics involved in the development of the genre, and investigates how these are played out in the performance of taarab music on Zanzibar.

Consider this paradox - for many people, rock is dead, crushed by the weight of its own success and popularity, little more than a voice of mainstream commercial entertainment. But for many others, especially among the new conservative Right, rock poses a greater threat now than ever before. What is it about rock that makes it so important in contemporary political struggles?;Bringing together cultural, political and economic analyses, Lawrence Grossberg offers an interpretation of the contemporary politics of both rock and popular culture. "We Gotta Get Out of This Place" explores four histories: the changing role of rock in everyday life; the emergence of an affective and popular conservatism; the crisis of contemporary capitalism; and the apparent inability of the Left to respond to these changes. These critical developments are bound together by their concern with postmodernity, understood as both a structure of everyday life and as a sensibility of popular culture. Everyone wants to get out of this place, but only the Right seems to have found a way to benefit from where we are. Bringing together cultural, political and economic analyses, Grossberg offers an interpretation of

The Space Between the Notes examines a series of relationships central to sixties counter-culture: psychedelic coding and rock music, the Rolling Stones and Charles Manson, the Beatles and the `Summers of love', Jimi Hendrix and hallucinogenics, Pink Floyd and space rock. Sheila Whiteley combines musicology and socio-cultural analysis to illuminate this terrain, illustrating her argument with key recordings of the time: Cream's She Walks Like a Bearded Rainbow, Hendrix's Hey Joe, Pink Floyd's Set the Controls For the Heat of the Sun, The Move's I Can Hear the Grass Grow, among others.
The appropriation of progressive rock by young urban dance bands in the 1990s make this study of sixties and seventies counter-culture a timely intervention. It will inform students of popular music and culture, and spark off recognition and interest from those that lived through the period as well as a new generation that draw inspiration from its iconography and sensibilities today.

Made in Italy serves as a comprehensive and rigorous introduction to the history, sociology, and musicology of contemporary Italian popular music. Each essay, written by a leading scholar of Italian music, covers the major figures, styles, and social contexts of pop music in Italy and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Italian popular music. The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Themes; Singer-Songwriters; and Stories.

With just four record companies controlling nearly 80 per cent of the world market in popular music, issues of globalization are evidently significant to our understanding of how and why popular music is made and distributed. As transnational industries seek to open up increasingly larger markets, the question of how local and regional music cultures can be sustained is a pressing one. To what extent does the global music market offer opportunities for the worldwide dissemination of local music within and beyond the major industry? The essays in this volume examine the structure and strategies of the transnational music industry, with its deployment of mass communication technologies including sound carriers, satellite broadcasting and the Internet. The book also explores local and individual experience of global music and this music's dissemination through migration and communities of interest, as well as the ideological and political use of different kinds of music. In contrast to recent arguments which posit an American imperialist dominance of popular music, the contributors to this volume find that the global repertoire of the major labels no longer represents the culture of a certain country but is fed by different sources. The essays here discuss how we can characterize this vast de-centered industry, and offer perspectives on the so-called 'international repertoire' that calls for a melodic structure, ballad forms, unaccented vocalisation and an image that has global recognition.

Made in Brazil: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth-century Brazilian popular music. The volume consists of essays by scholars of Brazilian music, and covers the major figures, styles, and social contexts of pop music in Brazil. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Brazilian popular music. The book first presents a general description of the history and background of popular music in Brazil, followed by essays that are organized into thematic sections: Samba and Choro; History, Memory, and Representations; Scenes and Artists; and Music, Market and New Media.

Barbershop singing is a distinctive and under-documented facet of Britain's musical landscape. Imported from the USA in the 1960s, it has developed into an active and highly organized musical community characterized by strong social support structures and a proselytizing passion for its particular style. This style is defined, within the community, in largely music-theoretical terms and is both highly prescriptive and continually contested, but there is also a host of performance traditions that articulate barbershop's identity as a distinct and specific genre. Liz Garnett documents and analyses the social and musical practices of this specialized community of music-makers, and extends this analysis to theorize the relationship between music and self-identity. The book engages with a range of sociological and musicological theoretical frameworks in order to explore the role of harmony, ritual, sexual politics, performance styles and 'tag-singing' in barbershop. This analysis shows how musical style and cultural discourses can be seen to interact in the formation of identity. Garnett provides the first in-depth scholarly insight into the British barbershop community, and contributes to ongoing debates in the semiotics and the sociology of music.

The term 'Popular Music' has traditionally denoted different things in France and Britain. In France, the very concept of 'popular' music has been fiercely debated and contested, whereas in Britain and more largely throughout what the French describe as the 'Anglo-saxon' world 'popular music' has been more readily accepted as a description of what people do as leisure or consume as part of the music industry, and as something that academics are legitimately entitled to study. French researchers have for some decades been keenly interested in reading British and American studies of popular culture and popular music and have often imported key concepts and methodologies into their own work on French music, but apart from the widespread use of elements of 'French theory' in British and American research, the 'Anglo-saxon' world has remained largely ignorant of particular traditions of the study of popular music in France and specific theoretical debates or organizational principles of the making and consuming of French musics. French, British and American research into popular music has thus coexisted - with considerable cross-fertilization - for many years, but the barriers of language and different academic traditions have made it hard for French and anglophone researchers to fully appreciate the ways in which popular music has developed in their respective countries and the perspectives on its study adopted by their colleagues. This volume provides a comparative and contrastive perspective on popular music and its study in France and the UK.

To his many fans, he was known simply as "Mr. Excitement," a singer whose music and stage presence influenced generations of performers, from Elvis Presley to Michael Jackson. Jackie Wilson: Lonely Teardrops looks at the life and career of this deeply troubled artist. Published briefly in a limited edition in the United Kingdom, this Routledge edition makes available this definitive biography for Wilson's legions of fans. Also includes two 8-page photo inserts.

This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and 30 original interviews, each chapter analyses one of 15 creative cities (San Francisco, Los Angeles, Dusseldorf, New York, London, Manchester, Cologne, Washington DC, Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon), Moscow and Istanbul) and assesses the contemporary situation in each in the post-subcultural era of digital and internet technologies. The book challenges existing subcultural histories by examining less well-known scenes as well as exploring DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.

This book, first published in 1987, tells the intriguing and culturally complex story of the art school influence on postwar British popular music. Following Romantic attitudes from life class to recording studio, it focuses on two key moments - the early 1960s, when art students like John Lennon and Eric Clapton begin to play their own versions of American rock and blues and inflected youth music with Bohemian dreams, and the late 1970s, when punk musicians emerged from design courses and fashion departments to disrupt what were, by then, art-rock routines. Sixties rock Bohemians and seventies pop Situationists were, in their different ways, trying to solve the art students' perennial problem - how to make a living from their art. Art Into Pop shows how this problem has been shaped by the history of British art education, from its nineteenth-century origins to current arguments about 'pure' and 'applied' training. In their simultaneous pursuit of authenticity and artifice, art school musicians exemplify the postmodern condition, the collapse of any distinction between 'high' and 'low' culture, the confusions of personal and commercial creativity. And so high pop theorists rub shoulders here with low pop practitioners, experimental musicians debate avant-garde ideas with corporate packagers, and artistic integrity becomes a matter of making oneself up.

In this lively examination of youth and their relationship to music, first published in 1994, contributors cover issues ranging from the place of music in urban subculture and what music tells us about adolescent views on love and sex, to the political status of youth and youth culture.

This book, first published in 1987, was the first major survey of the links between the visual arts and pop music over the last thirty years. It brings to light the ideas, styles and people who have influenced both the look of pop and the shape of art. It examines how pop uses art movements like Dada, Futurism and Surrealism in everything from the design of album covers to the creation of a group's look, stage act and video; how art uses pop, as a subject for painting, sculpture and design; the vital role of the British art school connection; and collaborations and cross-overs - between the visual arts and groups, musicians and movements.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.

In his first and only official autobiography, music icon Elton John reveals the truth about his extraordinary life. Me is the joyously funny, honest and moving story of the most enduringly successful singer/songwriter of all time.

Christened Reginald Dwight, he was a shy boy with Buddy Holly glasses who grew up in the London suburb of Pinner and dreamed of becoming a pop star. By the age of twenty-three, he was performing his first gig in America, facing an astonished audience in his bright yellow dungarees, a star-spangled T-shirt and boots with wings. Elton John had arrived and the music world would never be the same again.

His life has been full of drama, from the early rejection of his work with songwriting partner Bernie Taupin to spinning out of control as a chart-topping superstar; from half-heartedly trying to drown himself in his LA swimming pool to disco-dancing with the Queen; from friendships with John Lennon, Freddie Mercury and George Michael to setting up his AIDS Foundation. All the while, Elton was hiding a drug addiction that would grip him for over a decade.

In Me Elton also writes powerfully about getting clean and changing his life, about finding love with David Furnish and becoming a father. In a voice that is warm, humble and open, this is Elton on his music and his relationships, his passions and his mistakes. This is a story that will stay with you, by a living legend.

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.

A Scene In Between sets out to excavate the sartorial treasures of the UK's 1980s guitar scenes. Using original archive photography from scenesters, band members and amateur photographers of the time, Sam Knee takes you on a fashion trip through the visual racket of pivotal indie bands including Primal Scream, Spacemen 3, The Smiths, My Bloody Valentine, The Jesus and Mary Chain, Tallulah Gosh, the Vaselines and countless others. Charity shop chic, anoraks, bowlcuts, leather trousers and stripy tees are all de-riguer in this evocative photographic historical capsule. Seven years on from the release of the first edition, Sam Knee has expanded his photographic contact base, and built a loyal Instagram following of over 60,000 (including many big names in fashion and music). This revised edition features a new cover and intro, and plenty of new photographic material that will delight both fans of his work and new music and fashion aficionados.

Made in Latin America serves as a comprehensive introduction to the history, sociology, and musicology of contemporary Latin American popular music. Each essay, written by a leading scholar of Latin American music, covers the major figures, styles, and social contexts of popular music in Latin America and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Theoretical Issues; Transnational Scenes; Local and National Scenes; Class, Identity, and Politics; and Gendered Scenes.

MTV is the third major breakthrough in music broadcasting, and the first since the late 1960s. "Top Forty" radio was initiated in the 1950s, and along with "free form" or "progressive" rock molded rock music exposure for nearly twenty years. Many observers credit MTV with resurrecting the music industry from the throes of the Great Depression of 1979. Few would dispute its impact on contemporary film, fashion, and radio.

"Inside MTV "examines the world of cablecasting, the evolution of WASEC, MTV, VH-1, and some of their competitors. The strategies, personalities, promotions, and the contents that placed MTV on the road to its dominant position are described. The many controversies surrounding the channel are thoroughly detailed, and a good deal of the misinformation on the subject is corrected.

It is a mere five years since MTV began as the third of four Warner-Amex Satellite Entertainment Company (WASEC) channels, created by two of America's largest conglomerates. Since then, it has become a major force. Before MTV was conceived the relationship between television and rock music was weak, at best. As the new partnership .developed, a story of genius, luck, and discrimination began to unfold, and a corporate innovation of major proportions and psychodemographic success emerged.

MTV is now the most profitable 24-hour cable outlet beamed from a satellite. It reaches 30.8 million households. How all this happened is chronicled in this major new book from a leading authority on the American music business.

'From her raging, handwritten letters to late-night phone calls with David Bowie, this biography gets up close and personal with the tempestuous Nina Simone' Observer Drawing on glimpses into previously unseen diaries, rare interviews and childhood journals, and with the aid of her daughter, What Happened, Miss Simone? tells the story of the classically trained pianist who became a soul legend, a committed civil rights activist and one of the most influential, provocative and least understood artists of our time. This is the story of the real Miss Simone.